• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.139-150
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• 2015

This study highlighted influences which affect purchase intention of audience to viewing performance. And after grouping audience types by applying the cluster analysis to samples which are collected by survey, this study examined how purchase intentions influence audience to viewing performance by each audience type. Thus, to improve the reliability to classify audience type, the sample was selected by considering neither age group nor previous experience of viewing performance arts. Factor analysis and reliability analysis was performed to analyze the effect of purchase intention according to the type of audience. And we used AMOS program to verify using SEM(Structural Equation Modeling) how affect it was with moderating variable of audience type. Through surveying and analyzing th results, we confirmed that viewing motivation and quality of performing work have significant effect on purchase intention and significant moderating effect according to audience type. Therefore, we contribute to make suitable strategy that they figure out audience type, when performing art organizations make marketing strategy.

• Korean Institute of Interior Design Journal
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• v.15 no.2 s.55
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• pp.127-137
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• 2006

In the viewing of public performance arts, it needs to make space construction appropriate for performance purposes, because the section type has an effect on audience's inspection. Therefore, this study researches the intentional characteristics and comprehends the relationship between correlation factors to influence on section type of audience space in performance facilities. In addition to, this study comes under fundamental research to propose the course of standard plan, accord with diverse requirement, in the special performance facilities which will be built up. The results as following; 1) The factors that influence the section type of the audience's space in performing facilities are divided as two elements. The first element is construction of space, viewing environment, and the second element is visual characteristic, and acoustic characteristic. 2) The section type are classified as six types, A-type(Flated type), B-type(Sloped type), C-type(Gabled type), D-type(Arched type), E-type(Reverse arched type), and F-type(Reverse sloped type). 3) Characteristics are deduced by the section type, construction of space and viewing environment are restricted by the characteristics of the section type.

• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.661-674
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• 2018

This paper studies how the audience perceives the types of classical performances in their performance choice, analyzes its effects on performance invigoration, and investigates how such an audience perception affects the marketing application of performance on the supply side. For this, based on data of performance programs delivered in five representative concert halls for last three years as well as the classification of previous literature, we classified performance types into five categories such as Authentic classic, Omnibus, Lecture, Crossover and Mixture type. And then, we surveyed the audience of classical music. From statistical analyses, we found first that the audience perceives the types of classical performances and utilizes their perception as an element in choosing performances. Second, the perception of classical performance types has significant effects on audience development and progress in circumstances of high audience acceptance and satisfaction. Finally, this result confirms that suppliers can employ this audience perception as a marketing strategy by setting target audience based on such perception.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.195-202
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• 2012

This study aimed to analyze the types and characteristics of space forms according to performance types in the space of performing arts centers through the cases of modern performing arts centers. As for the space forms according to the performance forms, the performing arts centers devoted to dramas made a small space or turned into multi-purpose ones entering the modern days. Added to the proscenium, the main stage, was the back stage for the stage background. The area of the stage and auditorium grew similar with some kind of separation between the stage and audience. The concert halls have close relationships with the audience and their stage contacts the auditorium on many sections. The stage space is smaller than the auditorium and usually either the complex or entry type. In the opera theater, they commonly create a space for social gathering in addition to the main stage of proscenium, back stage, side stage and auditorium. They're also distinct from other performing centers for having an orchestra pit between the stage and audience. The stage is twice as big as the auditorium and the separate type. In today's performing arts centers, the sizes of the stage and auditorium can vary widely, and the performances of many different genres are put to multiple purposes.

• Cartoon and Animation Studies
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• s.26
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• pp.31-56
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• 2012

This is a scientific study of subjectivity on recognition types and preferences of animation audience. Therefore, Q-methodology was used as a methodology of this study. As a result, it was possible to find the various characteristics according to the preferences of audience on animation genres. The features of each type were classified into 3 types. First was an artistic and literary value-oriented type that explored storytelling and descriptive value. Second was a pictorial and aesthetic value-oriented type that explored visual beauty such as characters and Mise en scene. Third was a visual and entertainment value-oriented type that explored entertainment factors and attractions. Thus, according to the classification of preference types, it was inferred that digital image generation audience with an active preference that can create and consume images have developed a tendency that independently consumed their preferences based on thoroughly personal or subjective preferences rather than classified and accepted their preferred culture as their symbolic expressions of hierarchical position. In this aspect, Q-methodological consideration that is useful to analyze the subjectivity of audience could be a significant work. Nevertheless, this study alone could not reveal various generative contexts of specific preferences. It seems to have more significant results by applying various qualitative or quantitative methodologies together with this study and analyzing recognition types and preferences of audience.

• Journal of Broadcast Engineering
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• v.26 no.5
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• pp.533-542
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• 2021

In this study, a process of re-creating Jindo Buk Chum, one of the traditional Korean arts, into digital art using various artificial intelligence technologies was proposed. The audience's emotional data, quantified through artificial intelligence language analysis technology, intervenes in various object forms in the projection mapping performance and affects the big story without changing it. If most interactive arts express communication between the performer and the video, this performance becomes a new type of responsive performance that allows the audience to directly communicate with the work, centering on artificial intelligence emotion analysis technology. This starts with 'Chuimsae', a performance that is common only in Korean traditional art, where the audience directly or indirectly intervenes and influences the performance. Based on the emotional information contained in the performer's 'prologue', it is combined with the audience's emotional information and converted into the form of images and particles used in the performance to indirectly participate and change the performance.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.79-91
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• 2019

In the entertainment industry, risk management is crucial for securing competitiveness due to the risk of investment. The competitiveness of contents is reinforced when external factors such as industrial environment and internal factors centering on involving mechanism are simultaneously provided. The involving mechanism is a form of cognitive response behavior of the audience and occurs through signal processing of the brain when watching the image contents. The signal processing of the brain related to the contents watching is mainly performed in the working memory area, and in the case of the captivating movie, the information other than the contents transmitted to the audience is blocked to generate a temporary dissociation state. A dissociation state similar to a symptom such as hypnosis or amnesia occurs when the audience's level of involving is high. On the other hand, contents information in which the audience is concentrating his attention is used intensively for constructing future thinking through an episodic buffer while the inflow of external information is relatively blocked or delayed. The spectator's future thinking configuration takes the form of a hypothesis-forming activity and is based on the predictability of the brain. When these hypothesized behaviors correspond to the problem solving simulation of story and predictability which is an evolutionary function of the brain, the audience' s brain is involved in the contents at a high level. In order for the act to be effective, the factors such as the background of the hypothesis, the subject of the hypothesis, the internal information of the person, the type and position and quantity of the hypothesis information, and the hypothesis relevance and type of information are important. Based on these factors, analysis of the Kim Eun Sook Drama 'Goblin' shows that the above elements are operated in a very organic and meaningful way.

• Korean Journal of Child Studies
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• v.20 no.3
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• pp.123-137
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• 1999

This study investigated the influence of audience type (mother or close friend) age, and gender on children's goals and strategies for emotional regulation in angry and in sad situations. Hypothetical vignette methodology was used with 314 children in grades 5 and 7. In angry situations, all boys and all 5th grade children regulated anger more with instrumental motives while 7th grade girls showed more prosocial motives. Children showed more prosocial and rule oriented motives with peers and relational motives with mothers. In angry situations, children used aggression regulation strategies more toward peers and activity regulation strategies more toward mothers. Children's age and sex explained sadness regulation motives better than audience type with peers, but children used more activity regulation strategies with mothers in sad situations. When sad, fifth graders used more verbal and facial expression strategies than 7th graders while boys used more activity regulation strategies than girls.

• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.232-246
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• 2016

Subtitles in entertainment programs have extended the roles from providing additional explanation and complementary sound effect to maximizing amusement and impression as the type which triggers the audience's interest. This study examined the characteristics of the subtitles and the effects on the audiences, mainly focused on of JTBC. Based on the result of the content analysis, the interested subtitles are continuously presented in each episode (10~20%) compared to the proportion of the total captions. Producers have repeatedly used the nickname of the cast members to construct and reinforce the character of them. The text analysis shows that the audience's perception about the cast is mainly influenced by the subtitles. The producers intentionally use the subtitles and subjectively intervene in the entertainment programs. The subtitles have a major effect on the audience's perception and image formation. Producers should be more prudent about their use of subtitles and viewers, on the other hand, must interpret the meaning of subtitles, as active information consumers.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.659-666
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• 2024

This study proposed the design of audience characters to increase the interactivity between audiences who enjoy music performances in the metaverse. As a research method, domestic and foreign performance videos were investigated, classified according to genre and scale, and facial expressions, gestures, and tools required for interaction were analyzed. As for the facial expressions of the audience characters in the metaverse performance, the facial expressions of cheers and appreciation were added to the nine facial expressions suggested in previous studies. Gestures were organized into 7 gestures after reviewing the video of the case performance, and new gestures were added that could reflect the interaction characteristics of the audience well. The tool classified and organized various tools found in the surveyed performance video by type, and designed and proposed them appropriately. In addition, the body ratio and shape of the characters were appropriately adjusted so that the audience could interact more naturally. The results of this study are expected to contribute to enhancing interaction among audiences by presenting a basic guide to character design for music performances in the metaverse.