• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.51-61
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• 2013

This Paper aims to explore the key factors that drive box-office success in Korean, Chinese and Japanese film market regarding to the storytelling of the movies. At first, I researched the top 20 movies at the box office of Korean, Chinese and Japanese film market from 2007 to 2011.And then I tried to figure out the key factors for the success and the differences among those countries. Usually the purpose of the movie planning in Korea is for the domestic market. In the profit structure of Korean film industry, it is really hard to focus on the overseas film market. In Chinese film market, recently it has been changed a lot especially film genre. The movie liked to watch is melodrama, romantic comedy movie It is being changed to the comedy genre from the war and martial arts movie. And it is emphasized the importance of the scenario in the film production. They want to watch their lives like a real and dreams at the movie and the movie tries to show this trend. In Japanese film market, they made movies in which TV drama, animation and cartoon according to the O.S.M.U. strategy. The movies like to watch are the blockbuster movies, horror movies, thriller movies and melodrama. Comparing with Korea and China, they like movies which show more fantastic and fairy tale imagination.

• Journal of The Korean Association of Information Education
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• v.17 no.4
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• pp.421-432
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• 2013

The purpose of this study is to develop contents and an instructional model that support children's dramatic play by integrating the robot and augmented reality technology. In order to support the dramatic play, the robot shows various facial expressions and actions, serves as a narrator and a sound manager, supports the simultaneous interaction by using the camera and recognizing the markers and children's motions, records children's activities as a photo and a video that can be used for further activities. The robot also uses a projector to allow children to directly interact with the video object. On the other hand, augmented reality offers a variety of character changes and props, and allows various effects of background and foreground. Also it allows natural interaction between the contents and children through the real-type interface, and provides the opportunities for the interaction between actors and audiences. Along with these, augmented reality provides an experience-based learning environment that induces a sensory immersion by allowing children to manipulate or choose the learning situation and experience the results. In addition, the instructional model supporting dramatic play consists of 4 stages(i.e., teachers' preparation, introducing and understanding a story, action plan and play, evaluation and wrapping up). At each stage, detailed activities to decide or proceed are suggested.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.285-294
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• 2017

In this study, change of the view of love was analyzed by big data analysis in TV drama of married person's love. Two dramas were selected for analysis with opposite theme of love story. The sympathy of audience for the one month period from the end of the drama was analyzed by text mining and sentiment analysis. In particular, changes in the meaning of home meaning are identified. Home is not 'a place where a husband and wife play a social role', but 'a place where they can share real sympathy and one can be happy'. If individuals are not happy, they need to break their homes. In this study, the current divorce rate and the question regarding the matter should be considered. But based on Google Trends, in Korean society, interest in marriage were still higher than romance. It means that people prefer to 'a love to get marriage' in Korean modern society, than 'love for love affair'. It seems to be reflection of cognition change, marriage should be based on true love. This study is expected to be applied to the study of trend change through social media.

• Korean Journal of Social Welfare
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• v.68 no.3
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• pp.73-103
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• 2016

In this study, it investigates the life of normal adolescents who have parents with intellectual disability and their difficulties which suggested social welfare meanings of this study. In order to conduct wide and in-depth analysis on cases by utilizing the characteristics of qualitative case studies, it describes and analyzes the intellectual disability parents' normal children in detail from the viewpoint of an insider through in-depth interviews, various sources and diverse data collecting methods. As for the subject of this study, both parents should be persons with intellectual disability and their child shall be non-disabled and at least a high school student or older. Through the intentional sampling, five late adolescents who were in high school, all males participated in the study. The data collection process had been conducted from January 2014 to May, which is commonly utilized for qualitative case studies, and comparative analysis between cases were practiced for analysis. For credibility of the research results, it obtained severity at each stage by meeting the standard. The analysis results were largely divided into "growth story of non-disabled adolescents" and "life of non-disabled adolescents". Nine upper categories analyzed the common features in each case. The nine categories were "no one tells me to study", "advance while learning the sense of academic achievement", "hide into my own space", "having to grown up early", "different parents but same love", "relatives raised me", "have a friend who accepts me as I am", "being pressed by poverty", and "standing on a knife edge of being hurt and taking heart". Based on the in-depth research on normal teens that have intellectually disabled parents, theoretically speaking, this study expanded the prospect of study on intellectually disabled to their normal, intellectual teenage children. As for practical significance, understanding their parents' intellectual disability, parenting technique training, case management from the community level is suggested. Rregular real condition research of the families, allowance system for economic support et al. is suggested in policy aspect.

• Cartoon and Animation Studies
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• s.36
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• pp.19-44
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• 2014

is an animation by John Halas and Joy Batchelor, based on Animal Farm by George Orwell, screened in England, 1954. by John Halas and Joy Batchelor showed true occasions in history, such begins with Bolshevik Revolution which broke out in October of 1917, through new economic policy called NEP, monopolization of power by Stalin, and Moscow Justice as a fable. in positioned real people from Bolshevik revolution as characters as in allegory, due to its fable-nature. However, descriptions in by John Halas and Joy Batchelor differs with by George Orwell from the middle of its story. In by John Halas and John Batchelor, Snowball is killed by Napoleon, unlike in by George Orwell, which Snowball is thrown out by Napoleon. showed Stalin as Napoleon, and Trotsky as Snowball in its characters. Satire description on Stalin's reign of terrorism after Bolshevik Revolution was same in both by George Orwell and by John Halas and Joy Batchelor; however, the view on Trotsky was different with each other. Therefore, this paper is written to describe allegorical factors of Bolshevik Revolution in by John Halas and Joy Batchelor, as well as to reinterpret the value of Trotsky and Russian Revolution by researching Snowball in .

• The Journal of Korean Medical History
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• v.26 no.1
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• pp.87-96
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• 2013

This study confirmed that a doctor named Lee, Seok-gan whose name has been widely known but whose real identity has remained unclear, was an active Confucian doctor in the 16th century. In addition, through the newly discovered "Daeyakbu" among his family line, writings, and relics that have been handed down in a family, this study looked into his medical philosophy and medicine culture. The author of "Ieseokgangyeongheombang"(Medical Book by Lee, Seok-gan(李石澗), Seok-gan is the same person as an active famous doctor Lee, Seok-gan(李碩幹, 1509-1574) in the 16th century. Such a fact can be confirmed through "Samuiilheombang", "Sauigyeongheombang" and the newly opened "Ieseokgangyeongheombang". Lee, Seok-gan was born in the 4th ruling year of king Jungjong (1509) and was active as a doctor until the 7th ruling year of king Seonjo(1547); his first name is Jungim with the pen name-Chodang, and he used a doctor name of 'Seokgan.' He was known as a divine doctor, and there have been left lots of anecdotes in relation with Lee, Seok-gan. Legend has it that Seokgan went to China to give treatment to the empress, and a heavenly peach pattern drinking cup and a house, which the emperor bestowed on Seokgan in return for his great services, still have remained up to the present. Usually, Seokgan interacted with Toegye Lee Hwang and his literary persons, and with his excellent medical skills, Seokgan once gave treatment to Toegye at the time of his death free of charge. His medical skills have been handed down in his family, and his descendant Lee, Ui-tae(around 1700) compiled a medical book titled "Gyeongheombangwhipyeon(經驗方彙編)". Out of Lee, Seok-gan's keepsakes which were donated to Sosu museums by his descendant family, 4 sorts of 'Gwabu'(writings of fruit trees) including "Daeyakbu" were discovered. It's rare to find a literary work left by a medical figure like this, so these discoveries have a deep meaning even from a medicine culture level. Particularly, "Daeyakbu" includes the typical "Uigukron". The "Uigukron", which develops its story by contrasting politics with medicine, has a unique writing style as one of the representative explanatory methods of scholars' position during the Joseon Dynasty; in addition, the distinctive feature of "Uigukron" is that it was created in the form of 'Gabu' other than a prose.

• Journal of Gifted/Talented Education
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• v.10 no.2
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• pp.47-69
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• 2000

One of the most controversial issues in contemporary research of creativity, whether a person"s creativity is domain-specific or domain-general, was investigated with 109 second grade children in the present study. The purposes of this study sere to empirically examine (1) the relationships among children's creative performances measured by three product-based assessments (story-telling, collage-making, and math word problems) in three domains, and (2) the relationships between children's general creative thinking sills, measured by two divergent thinking tests, and children's creative performances. The findings of this study support the position that creative ability in young children is rather (but not absolutely0 domain-specific. Children exhibited a range of creative ability across different domains rather than a uniform creative ability in diverse domains, indicating there is considerable intra-individual variation in creative ability by domain. Divergent thinking measures did not have great power in predicting creative performance in at least two of three, if not all, domains assessed in the study. It is implied from the study that it is not possible to reliably predict a child"s creative ability in one domain based on his/her creative ability in other domains or his/her overall divergent thinking ability. Implication of the study in connection with educational practices for gifted children is discussed.

• (The)Study of the Eastern Classic
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• no.67
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• pp.35-67
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• 2017

This paper is a study on popularise aspects and consciousness of times about Seol-In-Gui's narrative in the Joseon Dynasty. Seol-In-Gui is general of Dang(唐) and he entered the war between Goguryeo(高句麗)and Dang. The war between Goguryeo and Dang is ended victory of Goguryeo. And Joseon peoples was long for power of Goguryeo and recognized again history of Goguryeo. So discourse of regaining native land was formed in the Joseon Dynasty. Besides was very popular in the Joseon Dynasty. Seol-In-Gui's narrative and are quite similar. And Dang-Tae-Jong, Ul-Ji-Gyeong-Deg's old story was prevalence. Dang-Tae-Jong and Ul-Ji-Gyeong-Deg entered war between Goguryo and Dang. Therefore Seol-In-Gui's narrative was popular in the Joseon Dynasty. Popularise aspects of Seol-In-Gui's narrative as follows. First, Seol-In-Gui's conquest of Yodong(遼東) narrative and heroism was gradually emerged in Seoul block printed of 40, 30 sheets version and printed book of . Second, Dang-Tae-Jong, Ul-Ji-Gyeong-Deg, Hab-So-Mun's individual narrative was formed. Third, Seol-In-Gui's narrative was expended to female hero's conquest of West-Beon(西蕃) narrative. Because are adaptations of . And is succession of Seol-In-Gui's narrative. Seol-In-Gui is people, Ben-Li-Hwa is female, Ben-Li-Hwa and Ul-Ji-Gyeong-Deg are ethnic. It is revealed that people, female, ethnic are real ability of Chinese nation. Furthermore it is revealed that people and female must are appointed and ethnic must is combined. Besides it is revealed that it is necessary built up national strength of Joseon Dynasty like Goguryeo and Goryeo. After the Manchu Invasion of Korea in 1636 national strength of Joseon Dynasty was weaken. So the Joseon Dynasty People long to be intensifed national strength keep in check China.

• Cross-Cultural Studies
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• v.47
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• pp.163-190
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• 2017

This paper studies the recent surge in the number of faith-based films in Hollywood, with the aim to explore the context and implications of this new trend. By using the theoretical framework of the study of the Tilich and Van der Leeuw, who have explored the relationship between religion, culture and art, this article discusses the meaning of the spiritual theme in the film. A couple of common points can be found among the faith-based films that have been produced since the 2010s. While these films attempt a universal approach to the fundamental theme of spirituality through popular narratives familiar to the audience, they also stress 'historical truthfulness and credibility' by representing the reality, such as a featuring real person or a true story in the film. The main characters are depicted as "victorious losers" that are distinguished from the typical Hollywood superhero and the films repeatedly show the human being constantly 'asking' questions to God. By analyzing these characteristics, the paper demonstrates that recent Hollywood faith-based films have successfully differentiated themselves from existing religious films while symbolizing the universal beliefs and values beyond the religious message so as to attract more audiences to this field. The paper also suggests that despite the advances in modern science and knowledge, the public will always yearn for a spiritual recovery and salvation through the film medium, serving as a potential source that provides an outlet for spiritual experience.

• (The) Research of the performance art and culture
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• no.18
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• pp.47-72
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• 2009

This study explores mime elements of court Hagmu(鶴舞) in literature and what is expressed in the practice of current Hagmu and examines what has been changed while others are kept intact. The content of Hagmu is that "attracted by lotus flowers in a pond, cranes dance around and peck at them, when the blossoms open wide with a girl [dancer] inside, upon which the surprised cranes fly away." The dance consists of 4 steps: the first step is for the entrance of cranes; in the second step the cranes dance moving across jidang(池塘) and the north; in the third step the cranes are curious about the lotus calyces, yeontong(蓮筒); and the cranes withdraw in the fourth step. The literature suggests that the dancing courses on the stage are limited to the east, the west, the south, and the north. The movement is limited to naeson (內旋) only in mujin(舞進) and mutoe(舞退). Furthermore, the gaze is only allowed toward the north and jidang. Motions are limited to naejog(內足), oego (外顧), and naego(內顧). However, the mime elements of current Hagmu are attributed to the effort of translating crane's life into a realistic story. It relates the life of cranes to that of human beings and implies love in it. Finally, the court Hagmu has entered the real world out of the literature, enriched with new elements. Under the transition from literature to practice the diversity of expression is added while the elements related with court codes such as courses, movements, directions, and motions are kept intact. These limitations, however, are coupled with the sensitive 'love' and the exposure of dancing instruments intrigues audience and creates dramatic effect. In conclusion the significance of mime elements in court Hagmu is in enhancing communication with audience.