• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.05a
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• pp.116-119
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• 2009

Culture is an element of showing the quality of life as the factor that a human can become a human being. Furthermore, culture plays a role to make something new and a source for a higher value-added business. In 21C, the term of cultural contents to combine art with digital technology was derived. In this paper, we reconstruct a 3D Mongudowondo which is improved a plain appreciation into a 3D experience of traditional picture to make better user's convenience and approach. It is a device of restoration for cultural contents and a graft on virtual reality after reinterpreting 15C pictures and analyzing text and image.

• International Journal of Internet, Broadcasting and Communication
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• v.13 no.2
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• pp.195-207
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• 2021

In recent years, with the rapid growth of China's animation industry, the two-dimensional culture and consumption have been immersed in the daily lives of young people. The two-dimensional culture that mainly exists on young people is gradually entering the public's field of vision, making the two-dimensional culture not It is only restricted to the fixed fan circle, but is known to more people outside the circle. At the same time, the "barrage" (screen text) cultures in video websites has become popular with some film and television works, Internet terms, etc., and has attracted the attention on mainstream culture. On the one hand, its cultural products have appeared on traditional mainstream video websites and advertisements on provincial satellite TV. And in the program, on the other hand, a small part of the screen text and cultural terms are also used by some celebrities and other ordinary people who don't understand the meaning of the terms at all, and have caused widespread dissemination. Sometimes the video website itself is also mentioned, which obviously shows a difference. The tendency towards a kind of screen texts subculture to penetrate the mainstream culture.

• Journal of Korea Multimedia Society
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• v.24 no.5
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• pp.736-743
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• 2021

Due to COVID-19, the non-face-to-face content market is growing rapidly. However, most of the non-face-to-face content such as webtoons and web novels are produced based on the traditional culture of other countries, not Korean traditional culture. The biggest cause of this situation is the lack of reference materials for creating based on Korean traditional culture. Therefore, the need for materials on traditional Korean culture that can be used for content creation is emerging. In this paper, we propose a generation model of source data based on traditional folk paintings through the fusion of traditional Korean folk paintings and AI technology. The proposed model secures basic data based on folk tales, analyzes the style and characteristics of folk tales, and converts historical backgrounds and various stories related to folk tales into data. In addition, using the built data, various new stories are created based on AI technology. The proposed model is highly utilized in that it provides a foundation for new creation based on Korean traditional folk painting and AI technology.

• Journal of Information Processing Systems
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• v.18 no.4
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• pp.470-479
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• 2022

Mukbang is a type of foodcasting where a host records or streams their eating rituals for audience consumption in live format. With origins in South Korea via the online broadcast genre found on Afreeca TV in the mid-2000s, the phenomenon has since found global popularity. Its development as a full-fledged genre is based on a communication culture that invites people to a meal rather than to talk to one another; viewers watch in silence as a host consumes a copious number of dishes from Korean gastronomy to fast food to other ethnic cuisine on display. An invitation to eat means the beginning of a public relationship that quickly turns to a private shared experience. This study analyzes several Mukbang video postings and makes use of Linden's culture approach model to provide a view toward a number of cross-cultural connections by Koreans and non-Korean audiences. Prior to the study, 10 Korean eating shows were selected and used as standard models. Korean Mukbang mainly consists of eating behavior and ASMR, with very few storytelling or narrative devices utilized by its creators. For this reason, eating shows make a very private connection. In other ways, this paper shows how 28 Mukbang-related YouTube contents selected by Ranker were evolving and examined through notions of acculturation and reception theory.

• International journal of advanced smart convergence
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• v.12 no.2
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• pp.102-107
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• 2023

Chinese shadow puppetry is an ancient form of drama with a long history. Known as the "mother of Chinese folk opera", it has rich cultural connotations and artistic value. At the same time, as a classic video game genre, side-scrolling games have many loyal fans around the world. However, in recent years, some previous entertainment cultures such as shadow puppetry are slowly disappearing. In contrast, video games play an increasingly important role in people's entertainment. Combining Chinese traditional culture with video games can be a great way to promote the preservation of these cultures. By making traditional culture more accessible and engaging, developers can help to ensure that these cultures continue to be enjoyed by future generations.The side-scrolling game is a classic game type, and it has many similarities with shadow puppetry. This paper will analyze the similarities and differences between Chinese shadow puppetry and horizontal version games, and try to explore how to organically integrate the two, so as to promote the inheritance and development of traditional culture, and promote cultural innovation and the development of creative industries.

• Journal of architectural history
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• v.32 no.6
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• pp.33-47
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• 2023

The study confirmed the "house search report(家宅搜索調書)" containing criminal records during the Japanese colonial period, as well as the production process and the way of expressing the illustrations contained in them. It also explored architectural values through analysis of the location and use of the building. This records the discovery of evidence by searching the residences of those involved in the crime from 1919 to 1922. The illustrations contained in this record were not standardized, so the contents of the article differed depending on the author's background and cultural experience. Nevertheless, this painting reflects the regional characteristics of traditional houses located throughout the Korean Peninsula. It is also evidence that the house was used for cultural, commercial, and industrial purposes, beyond the general assumption that it was used only for residential purposes. The "House Search Report(家宅搜索調書)" provides information on ordinary buildings that existed as the background of everyday life, rather than buildings with a specific purpose or exceptional design. It is evaluated as an important resource for understanding the diverse life and spatial structures of buildings during that time.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.78-103
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• 2019

The Conservation Decree of the Chosun Treasures Historic and Natural Monuments (hereinafter referred to as the Conservation Decree), which was enacted during the Japanese colonial period, was preserved in accordance with the provisions of article No. 100 of the constitutional law. However, legislative attempts were made to replace the Conservation Decree during the US military administration and early Korean Government. The first attempt was about the National Treasures Historic and Natural Monuments which were brought in by the Legislative Assembly of South Chosun (1947) during the US military administration. The second was a bill by the government for preservation of historical interests (1950), which was submitted to the National Assembly on March 15, 1950 (the so-called Preservation Act (1950)). These two bills were amended and supplemented on the basis of the existing contents of the Conservation Decree. Afterwards, from 1952 to 1960, the legislation of the Cultural Heritage Protection Act (1959) and the Cultural Heritage Bill (1960) were subsequently introduced and enacted. The government's attempt to enact such a cultural property bill was aimed at the legislature to replace the preservation order system that had been in effect since the Japanese colonial period. However, due to the political situation at the time, these laws did not reach final legislation. In October 1960, the government enacted the Regulations for the Preservation of Cultural Property, which was an administrative edict that was promulgated and enacted in November. This was the first official cultural property decree introduced by the Korean government. With the enactment and promulgation of the Cultural Heritage Protection Act in January 1962, Korea's judicial cultural property legislation was established, based on the Korean government's unremitting efforts and experience in legislation of cultural property. In that context, the Cultural Heritage Protection Act is a historical product. The Cultural Heritage Protection Act, which was enacted in 1962, is known to emulate or transplant Japan's Cultural Heritage Protection Act (1950). It was not fully recognized that it was an extension of the Korean government's legislative process of cultural property during the period of 1945-1960. Therefore, it is important to examine the legislative process of cultural property from 1945 to 1960 to understand the background of enacting the Cultural Heritage Protection Act in 1962 along with the establishment of the Korean Cultural Property Law.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.34-43
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• 2022

This study compared the characteristics of cultural heritage in China and Vietnam, which have developed in the relationship of mutual geopolitical and cultural influence in history, and the following conclusions were made. First, the definition of cultural heritage in China and Vietnam has similar meanings in both countries. In the case of cultural heritage classification, both countries introduced the legal concept of intangible cultural heritage through UNESCO, and have similarities in terms of intangible cultural heritage. Second, while China has separate laws for managing tangible and intangible cultural heritages, Vietnam integrally manages the two types of cultural heritages under a single law. Vietnam has a slower introduction of the concept of cultural heritage than China, but it shows high integration in terms of system. Third, cultural heritages in both China and Vietnam are graded, which is applied differently depending on the type of heritage. The designation method has a similarity in which the two countries have a vertical structure and pass through steps. By restoring the value of heritage and complementing integrity through such a step-by-step review, balanced development across the country is being sought through tourism to enjoy heritage and create economic effects. Fourth, it was confirmed that the cultural heritage management organization has a central government management agency in both countries, but in China, the authority of local governments is higher than that of Vietnam. In addition, unlike Vietnam, where tangible and intangible cultural heritage are managed by an integrated institution, China had a separate institution in charge of intangible cultural heritage. Fifth, China is establishing a conservation management policy focusing on sustainability that harmonizes the protection and utilization of heritage. Vietnam is making efforts to integrate the contents and spirit of the agreement into laws, programs, and projects related to cultural heritage, especially intangible heritage and economic and social as a whole. However, it is still dependent on the influence of international organizations. Sixth, China and Vietnam are now paying attention to intangible heritage recently introduced, breaking away from the cultural heritage protection policy centered on tangible heritage. In addition, they aim to unite the people through cultural heritage and achieve the nation's unified policy goals. The two countries need to use intangible heritage as an efficient means of preserving local communities or regions. A cultural heritage preservation network should be established for each subject that can integrate the components of intangible heritage into one unit to lay the foundation for the enjoyment of the people. This study has limitations as a research stage comparing the cultural heritage system and preservation management status in China and Vietnam, and the characteristic comparison of cultural heritage policies by type remains a future research task.

• Journal of the Korean Association of Geographic Information Studies
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• v.6 no.3
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• pp.43-60
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• 2003

The purpose of this study is to seek the methods of constructing a cultural information system based on GIS. It is impossible for regional culture to be formed apart from its surrounding space, so a study of culture should be based on realizing the features of its space. It is important to note that the elements composing a culture complicatedly interact with each other in their function and continuously change. Also they are interrelated in space and plentiful in their amount. Nevertheless, those studies practised so far in relation to culture and constructing cultural database are too limited in establishing cultural area or community life area required to recognize the regional identity. So it is now essential that we should study the methods of cultural expression surpassing objective historical and cultural site maps instead of simple maps depicting historical remains or sites. From this viewpoint, this study tries to find various cultural phenomena in relation to their space through seeking the methods of constructing the cultural database model using XML. In addition, this study tries to construct a base for increasing the utilization of information in making the cultural contents.