• Asia Marketing Journal
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• v.13 no.4
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• pp.105-137
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• 2012

After relationship marketing emerged as a new approach in the marketing field in the 1980s, it has been widely studied in the United States, Europe and Asia. Rapid environmental changes and global competition has made it inevitable for companies to consider their relationships with the environment more closely. Under these circumstances, relationship marketing has held a position as a pivotal paradigm in the field of strategy as well as in marketing. In addition, relationship marketing has overcome the limitations of a traditional marketing research while providing richer implications in company's marketing activities. The paradigm shift to relationship marketing has brought fundamental changes in a marketing point of view. First, in philosophical aspects, unlike past research which focused solely on customer satisfaction, organizational relationship parameters which focuses on trust and commitment has become key elements of successful relationship marketing while shifts in thoughts naturally take place from adaptive marketing to strategic marketing. Second, in structural aspects, the relational mechanism of governance such as network structure with a variety of relational partners has emerged as a new marketing organization from the previous simple structure focusing on the micro-economic, marketbased trading between seller and customer. Third, in behavioral aspects, it proposed the strategic course of the action of gaining an advantage over the competition on the individual firm level by focusing on building long-term relationships and considering partnership with the components in the entire marketing system, rather than with one-time transaction-centric action between a seller and a customer. Fourth, in the aspects of marketing performance, marketing performance was sought through the long-term and cooperative relationship with various stakeholders, including customers in the marketing system, focusing on the overall competitive advantage based on relationship rather than individual performance of individual companies' marketing activities, such as market share and customer satisfaction. However, studies of relationship marketing were mostly centered in interorganizational relationships focusing on the relational structure and properties of commercial sector in the marketing system. Paradoxically, the circumstance of the consumer's side that must be considered is evolving again in relationship marketing. In structural aspects, a community, as the new relationship governance structure in the digital environment, and in behavioral aspects, the changing role of consumer participation demanding big changes in the digital environment engaged in the marketing system. The possibility of building a relationship marketing community for common value creation is presented in terms of organization of consumers with the focus on changing marketing environment and marketing system according to the new realities of the 21st century- the popularity of digital environments and the diffusion of customer participation. Therefore, future research of relationship marketing must seek for a truly integrated model including all of the existing structure and properties of the research oriented relationship from both the commercial and consumer sector.

• Archives of design research
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• v.16 no.3
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• pp.241-252
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• 2003

Currently while a phase of the Internet as an advertising media is firm, and Internet advertisement utilization of a company rises, and the consumers contact with various Internet advertisements. A lot of Internet advertisements of various forms made with new technology to develop rapidly are executed and will disappear again. Now, It is necessary to classify various types of the Internal advertisement which was made by a sharp environment change, and was tested of the last ten years and to classify expression techniques systematically. At the same time, we have to check a development direction of domestic Internet advertisement and trend. It is a point of time that Internet advertisement must be designed in a macroscopic dimension like the four medium advertisement by an advertisement strategy and an expression strategy. In this paper, first I classified a type of domestic Internet advertising into marketing, an advertisement purpose, an expression form, manufacture technology, and an express on method systematically in five sides so far And I tried to consider the form and characteristics. By next time, while examine change of internet marketing paradigm, I checked trend of recently domestic Internet advertising in accord to a change of consumer's use tendency and a change of Internet advertisement manufacture technology, and tried to consider the development course in the marketing side, the manufacture technical side, and the creative side. Finally, I wish to propose necessity of expression strategy establishment to promote development of the interactive advertisement technique that considered the creative side in order to raise an effect of Internet advertisement.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.375-385
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• 2020

This paper attempts to understand the reality of Netflix on the Korean film distribution market environment, and to verify the possibility of developing domestic content centered on independent films in the OTT market, led by Netflix. The research significance of finding the way for Korean diverse films and independent films that cannot be provided with investment and distribution opportunities in various Korean Wave contents will be studied, and the characteristics of Netflix in the Korean film market will be explored. Netflix disseminates Korean contents such as Korean movies and Korean dramas, contributes to the spread of the Korean Wave, and is re-adjusting the paradigm of the distribution market, raising issues that cause a virtuous cycle of profits, controversy over net usage fees, and flooding of Hollywood movies. Considering the nature of intercultural exchange, the interaction between independent film content, Netflix platform, audience, and global market will expand interactive communication opportunities. In other words, just as Netflix uses the Korean media market to make profits, Korea should also use Netflix to try to expand the global market of Korean film contents (K-Film)and maintain a cultural and economic reciprocal attitude.

• The Journal of Art Theory & Practice
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• no.2
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• Cartoon and Animation Studies
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• s.40
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• pp.55-81
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• 2015

Animation as a public visuals media have been expanding increasingly its social and cultural influences beyond the ages and nations on the basis of global consumption. However, animation increases the negative impact in modern popular culture, and in regard to this, 'the recovery of ethics' should be considered in a reflexive and educational perspectives for the social role of animation. Thus, the research addresses the animation films of Brigham Young University students which contain a ethical values and receive attention by New York Times, etc. as a successful educational model. To do this, firstly, literature has reviewed by focusing on the negative impact of animation, 1) violence, 2) excessive sensationalism, 3) confusion of cultural identity, 4) gender discrimination, and 5) distorted view of history. Secondly, the education system of animation course at Brigham Young University will be analysed. Thirdly, based on this, the case study will be conducted by focusing on the 13 animation films of students to reveal the characteristics of the way of film direction. Through this research, firstly, most of animation films are comic genre, consisting of children and animal characters, family-friendly and lyrical story style and deployment of coincidental and allegoric incident. Thirdly, the religious spirit and multidisciplinary methods of education in Brigham Young University has influenced to the ethical expression and technical perfection in animation filmmaking. In the light of this, the research and suggests the new paradigm is for the practical disciplines of animation in the restoration of the ethical perspective and explores how the animation production adopts the moral significance.

• Cartoon and Animation Studies
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• s.6
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• pp.7-22
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• 2002

Animation constitutes the core of the media industry, which in turn lies at the center of the cultural industry. It is considered one of the industries where South Korea has the competitive edge over other countries. With the pool of customers getting wider, the genre of animation has become more and more diverse, forming a great market for it. Aware of this trend, this study focused on animation as a part of the pop culture, and on providing corresponding various viewpoints for future cultural studies. This researcher measured the practicality and persuasiveness of this study through Shreck, a three-dimensional C.G. animation which is acclaimed for its success in dismantling the old grammar of animation movies that represent the anti-Disney ideas. This researcher felt it imperative to heed the unique language of Shreck, which contains discourses on various cultural ideologies such as paradoxical structure that pits entertainment that is shown through dismantling of the canon, feminism and antifeminism against each other. This study analyzed the entertaining element of the animation genre by means of the Semiotics of Keith Moxey, thereby attempting to establish a legitimate social status of the genre, whose artfulness has been depreciated in the art society. In chapter II, this researcher examines the chronological development of three-dimensional C.G. animation that has shown a rapid advancement. Chapter III defines the cultural ideology of Shreck by exploring basic theories and texts employed in analysis of art works. This study started with the assumption that defines, from the viewpoint of symbology, the animation text as an aggregate of discourses on entertainment, and competitive and paradoxical ideologies. Then, this researcher analyzed the text and the generation process of meanings in Shreck. Consequently, this study has come to the following conclusions: First, Shreck induces changes of concepts about the canon by means of distorting and reversing the existing animation movies, which seems to reflect in the contemporary tendency of seeking new interpretations of entertainment. Second, Shreck shows up the cognitive changes of our age as to feminism by competing feminism against antifeminism. Although Shreck serves as a venue of competition between the two opposing ideas, it stops short of brushing off women as outsiders in society. Rather, it represents the resistance to the male chauvinism existing in the structures of animation and culture. As shown in the text analysis, Shreck presents an advent of a new ideology critical of the previous animation films. In addition, it reflects in the struggle between the pro-feminism on the part of the viewers and the anti-feminism that lies in the social and culture structure. This study, however, is limited in its scope and selection of subject. First, although this researcher has stressed the importance of understanding the animation as part of the pop culture and conducting researches within the historic paradigm, this study fails to provide an in-depth insight in the impacts that the changes in the C.G. industry and the systematic conditions may have on the three-dimensional C.G. animation genre. Furthermore, this study runs the risk of being understood as pro-American due to its selection of Shreck as its research subject.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.506-518
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• 2015

Recently there are growing needs and demand to enhance 'Unity of knowledge' as the concept of "Creating new value through integration and convergence" is developing rapidly in many different areas in the society. This also has significant implication to education. Especially, it requires paradigm shift in terms of required capabilities and qualifications for the students with science major. To accommodate this trend, Natural Sciences and Engineering's College has been increasing convergence education which focus on cultivating creative and cooperative learning capabilities as well as acquiring fundamental knowledge of individual majors. However, convergence education developed and implemented by Sciences college or liberal education so far has been mechanical combination of knowledge from different academic fields - not effectively integrated and interdisciplinary education. Given this situation, this research is to develop and propose a "convergence education program based on the development of scientific and cultural contents" as an education tool to enhance capabilities to apply and re-create integrated knowledge as well as acquire and learn existing knowledge. Education program developed in this research aims to achieve two different and sequential capabilities. First is to understand 'Science and Technology' and 'Cultural Archetype' which would be essential and useful to create cultural contents. Second is to develop capabilities to convert this understanding into cultural contents - a storytelling capability. This education program is differentiated in that it defines cultural contents as a medium to converge and integrate science and technology and humanities. By leveraging the concept of cultural content and storytelling, this education program would be able to overcome restrictions of existing interdisciplinary approach. Also, this program would encourage students to try in-depth research and new applications, and develop logical and creative thinking.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.470-474
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• 2008

The image as a media has changed consistently since it was first introduced. According to these changes, the image has been reproduced in different fields and contexts. Thus, the paradigm on the production and the consumption of the image has been changed and recycled rapidly. The relation between the production and the consumption of the image also has changed accordingly, allowing quite ambiguous distinction between the producer and the consumer. The transformation through the transfer of the image among different fields opens up a new potential that these reproduced images could be used as an aesthetically expressive tool, rather than merely leaving images to remain royal to its original function as a sign. The thesis is to explore the potential that the topographical lines have beyond its function as a sign age. During the reproduction of the image, the process actively invites the spectator or the consumer to participate in the formation of the image, which promotes a new relation between the producer and the consumer. Instead, the process encourages the consumers to be active producers as well. As a result, the topographical lines do not merely remain as a sign that demarcates the height of the topography, and new images are constantly reproduced from the active participants. This project questions the fixed idea on the sign as a communicative tool, and suggests a new potential for the sign, especially, the topographical lines.

• The Journal of the Korea Contents Association
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• v.10 no.5
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• pp.115-123
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• 2010

Because of development of information technology, moving picture can run various platforms. We should consider and apply users' attitude as well as production technique because convergence between mobile and media technology may be increased full-browsing service using mobile device. Previous research related to production technique in various platforms only focus on video quality and adjustment of screen size. However, besides of technical side, production techniques should be changed such as image production as well as image editing by point of view aesthetic. Mise-en-scene such as camera angle, composition, and lighting is changed due to HD image. Also image production should be changed to a suitable full-browsing service using mobile device. Therefore, we would explore a new suitable production techniques and image editing for smart phone. To propose production techniques for smart phone, we used E-learning production system, which are transition, editing technique for suitable converting system. Such as new attempts are leading to new paradigm and establishing their position by applying characteries such as openness, timeliness to mobile. Also it can be extended individual area and established as expression and play tool.

• Journal of the Korean Society for information Management
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• v.18 no.2
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• pp.273-294
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• 2001

In recent years, changes in the university libraries environment have led to increased emphases on improving or restructuring the organizational structures of university libraries. Technology, trends toward access over ownership, user focus, and restructuring in higher education are some of the major factors contributing to these changes. The users' new information retrieving behavior are emerged from the developments in information technology with new media and from the competitive research environments, and thus this trend has led to the gradual increase of collection arrangement by subjects rather than by forms, particularly from 1995 in Korean universities' libraries. Users especially in university libraries who are frequently seeking information on the specific subject, are going to find a room accoinmodating all forms of information on the subject, that is, one-stop information service. As a result, subject division structure have adopted as a new organizational structure in Korea. Our survey shows 34 out of 73 university libraries in Korea is taking this structure of which collections are arranged by subjects, while the rest of them are operating with a traditional organizational structure by forms focusing on keeping of collection management. In the future, university libraries with traditional organizational structure will be moving towards the subject division structure which is a recommended one by this study.