• 한국컴퓨터정보학회논문지
• /
• 제24권1호
• /
• pp.49-55
• /
• 2019

The character dialogue created by AI is unnatural when compared with human-made dialogue, and it can not reveal the character's personality properly in spite of remarkable development of AI. The purpose of this paper is to classify characters through the linguistic style and to investigate the relation of the specific linguistic style with the personality. We analyzed the dialogues of 92 characters selected from total 60 movies categorized four movie genres, such as romantic comedy, action, comedy and horror/thriller, using Linguistic Inquiry and Word Count (LIWC), a text analysis software. As a result, we confirmed that there is a unique language style according to genre. Especially, we could find that the emotional tone than analytical thinking are two important features to classify. They were analyzed as very important features for classification as the precision and recall is over 78% for romantic comedy and action. However, the precision and recall were 66% and 50% for comedy and horror/thriller. Their impact on classification was less than romantic comedy and action genre. The characters of romantic comedy deal with the affection between men and women using a very high value of emotional tone than analytical thinking. The characters of action genre who need rational judgment to perform mission have much greater analytical thinking than emotional tone. Additionally, in the case of comedy and horror/thriller, we analyzed that they have many kinds of characters and that characters often change their personalities in the story.

• 복식문화연구
• /
• 제28권6호
• /
• pp.830-844
• /
• 2020

The fourth Industrial Revolution, known as digital transformation, has made MZ generation to be the focus of the new consumer market, brought about the use of technological platforms a new consumption method. Currently, as various types of content collaboration are emerging that specifically targeting at the MZ generation. Content collaboration are considered an integration of content to create new values through co-existence and co-prosperity. This study identified the characteristics of collaboration of fashion brands from 2018 using literature and online news articles, and identified and classified through case studies of it determined movie content, game and virtual characters. By this research, it shown that collaboration with movie contents have increased the collaborative synergy by using the story in global media content. Collaboration with mobile games was generally used by young casual and sportswear brands. These brands which utilized characters from mobile games popular with to attract more teen consumers and strengthen brand awareness by adding values of high-technology and scarcity to the familiar images. In addition, collaboration with virtual characters has expanded value of the collaborative approach on expanding the range of advanced digital technology, from a promotional strategy during the distribution process through to the use of virtual models. As such, collaboration using the various types of content has developed beyond simple integration of identities among various areas, integrated products or brands that as a new value.

• International Journal of Advanced Culture Technology
• /
• 제9권1호
• /
• pp.64-69
• /
• 2021

Brands have begun to act without giving in to the challenges facing our society. Just like the slogan in the novel "The Three Musketeers" by Alexandre Dumas proclaimed, "All for one, one for all!" in the age of transmedia the success of brand activism must reflect the same principle. Specifically, by embracing the big as well as the little stories of consumers scattered everywhere, each and every one should create a huge resonance. This means that brands should use the cultural lever of transmedia so that the various stories of consumers do not fade into oblivion and, furthermore, expand the brand's call to action. By analyzing brand activism cases in business, this study explores the effectiveness of brand activism for advertisers to develop a better understanding of brand communication strategy. Building on findings that show new young generation consumers to favor brands that respond to social, political, and environmental issues and conceptual implications of the snowball effect, this study emphasizes consumer participation in the brand story creation process and the need for brands to aim for high standards of professionalism and accountability, so that they can grow together with their consumers.

• 한국엔터테인먼트산업학회논문지
• /
• 제14권1호
• /
• pp.91-96
• /
• 2020

슈퍼히어로 영화는 할리우드 영화 산업의 중요한 구성 부분 중 하나이며, 슈퍼맨 시리즈는 그 중에서도 가장 중요한 것으로, 할리우드 영화 산업에 높은 흥행 수익과 주변상품(周边商品)(굿즈-파생상품) 이윤을 가져다 주었다. 슈퍼맨 시리즈의 실사판 영화는 슈퍼히어로 애니메이션을 각색하고 재창작한 것으로, 시대의 발전에 따라 슈퍼맨 시리즈 영화는 서사내용, 서사형식과 미학디자인에 있어 시대에 걸맞은 변화를 가져왔다. 영화 '맨 오브 스틸'은 이 시리즈의 최신작으로 7년 만의 슈퍼맨 시리즈의 재기작품으로, 전작에 비해 스토리와 미학적 디자인에 있어 혁신적인 변화를 꾀하였다.

• 복식문화연구
• /
• 제30권2호
• /
• pp.173-188
• /
• 2022

The purpose of this study is to analyze the collaboration and artification of the Issey Miyake fashion brand and to suggest the best course of artification that can secure the brand's value. The research methods are as follows: i) identifying the companies' strategy and flow through collaboration concepts and examples from Issey Miyake; ii) selecting Issey Miyake fashion brands and carrying out a literature review through websites, articles, and books; and iii) examining prior studies on the relationship between fashion and art. Results are as follows. The exhibition is divided into spaces for brand intangible assets, artistic collaboration with partners, art co-creation, and the aesthetics and tradition of the brand. Using exhibitions to share the artistic work of collaboration partners is expected to positively affect the brand's likability. The exhibit shares art collaborations in display cases for clothes and photographs. Artists and brands appear as an extension of the creative space and convergence design area. The artist's improvisation forms the creative space that communicates with the audience, and the convergence design area is expanded through the unifying organic connection between the various media in the fashion brand. The photographers and brands section displays the nature images of Pleats Please, as well as human and prism garment images. In these images, the viewer can perceive a story in the interplay between the human body and nature.

• 수완나부미
• /
• 제16권1호
• /
• pp.103-123
• /
• 2024

The traumatic experiences of people from peripheral islands are susceptible to mnemocide. Such erasure of memory is facilitated by "defensive and complicit forgetting," which, according to Aleida Assmann, leads to "protection of perpetrators." My paper reflects on the vulnerability of traumas from the islands to mnemocide by looking into [1] the massacre of communists and civilians on Jeju Island, South Korea in 1948 as described in Hyun-Kil Un's short story "Dead Silence" (2017; English trans.) and [2] the eviction of residents and indigenous people from Calauit Island, Philippines for the creation of a safari in 1976 as imagined in Annette A. Ferrer's "Pablo and the Zebra" (2017). In "Dead Silence," I direct the attention to how to the execution of the villagers-witnesses to the death of the communist guerillas-is a three-pronged violence: it is a transgression committed against the innocent civilians; an act of "erasing traces to cover up" the military crackdown on the island; and, by leaving the corpses out in the open, a display of impunity. In "Pablo and the Zebra," I second that both residents (i.e., humans and animals) experience post-traumatic stress because of their respective displacements; thus, the tension between them has got to stop. Curiously, while it concludes with a reconciliatory gesture between an elder and a zebra, no character demanded a reparation for their traumatic past per se. Could the latter be symptomatic of a silence that lets such violence "remain concealed for a long time"?

• 한국엔터테인먼트산업학회논문지
• /
• 제14권1호
• /
• pp.97-106
• /
• 2020

오늘날 세계 시네마 애니메이션의 주류는 미국 디즈니, 드림웍스, 20세기 폭스 같은 영화사들이 출품한 애니메이션 영화이다. 이 애니메이션 영화들은 할리우드 블록버스터 제작의 영향을 받아, 높은 원가, 대작으로 전세계 관객들에게 현란하고 화려한 시청각의 향연을 선사했다. 1994년 설립된 드림웍스 애니메이션은 10여년 만에 유명해졌다. 선후로 전 세계에 널리 알려진 많은 애니메이션 가작을 출품하였다. 그러나 드림웍스의 성취는 외부 환경 요인을 제외하면 자신의 애니메이션 시나리오가 과인한 데서 비롯된다. 강력한 시나리오 스토리지는 애니메이션 영화의 논리적이고 매력적인 측면을 보장합니다. 본 문에서는 <쿵푸팬더> 시리즈, <슈렉> 시리즈, <이집트 왕자>, <크루즈 패밀리>, <치킨 런>, <메가마인드> 그리고 드림웍스가 제작한 다른 대표 영화들을 주요 분석 대상으로 하여, 그것의 극본 창작 스타일은 다음 네 가지 측면의 예술적 특징을 가지고 있음을 검토하였다. 극본은 과장이 심하고, 제재가 풍부하며, 정합성이 뛰어나며, 극본 창작은 상상력이 뛰어나 시각적 아름다움을 충분히 표현할 수 있다. 스토리 구조는 잘 조절되어 있고, 공간은 현실에서 나오지만 상상력으로 가득 차 있다. 캐릭터는 개성이 뚜렷하고 대화는 온건하지만 강압적이다.

• 한국조경학회지
• /
• 제32권3호
• /
• pp.1-17
• /
• 2004

The focus of this study is the promotion of green area volumes and their naturalness, water circulation system, decline of entropy, creation of biological habitats and linkage of separated urban green space. Re-presentative urban biotope survey sites were categorized as urban biotope, semi-natural biotope, and natural forest. In the urban biotope, a residential biotope was constructed near the Han river and in mountain areas. The green-area ratio at the housing complex was about 25%. GVZ(Grunvolumenzahl) was 0.35m$^3$/m$^2$ at the 5∼10-story housing complex, and 1.53m$^3$/m$^2$ over the 11-story. As for the green-area structure of the housing complex, canopy layer, understory layer, and shrub layer were not differentiated and the green-area volume was not high enough. The green-area ratio of school areas as a public area biotope was 5∼20%. GVZ was 1.12m$^3$/m$^2$ at Myungduk High School, and 1.78m$^3$/m$^2$ at Jeonggok Elementary School. In order to convert the urban biotope into an ecological area, green areas around the buildings should be connected to urban buffer green areas, and multi-layer structures should be established with natural plant species. In the semi-natural biotope, neighbor parks were created park in the vicinity of the natural forests. GVZ was 0.28m$^3$/m$^2$, and plantation was established with single layer structure and was definitely insufficient for the area. The urban buffer green areas have been established in strip corridors with the width of 20∼123m. In those areas, GVZ was 0.16∼0.27m$^3$/m$^2$ and had a deficient canopy layer, understory layer, and shrub layer. Soil conditions were not favorable for tree growth. In the natural biotope, GVZ of the plantation was 1.03∼1.5m$^3$/m$^2$ but the high crown closure of this area reduces the chance of species change and succession. GVZ of natural forest was 2.53∼2.57m$^3$/m$^2$. It is desirable to plant diverse plants and the natural forest should be succeeded by broad-leaf deciduous tree species. To improve the value of biotope at Kangseo-Gu, building height needs to be limited to reduce the environmental deterioration in the city. In order to maintain the water circulation system, water-permeable material is recommened when the urban surface areas are paved. The establishment of a water circulation system will improve ground water levels, soil moisture, water quality, and habitats. In order to improve biological diversity, it is desirable to have multi-layer structures in urban green areas with native species.

• 한국게임학회 논문지
• /
• 제11권6호
• /
• pp.127-138
• /
• 2011

네트워크를 통한 정보의 창출 및 교류는 온라인 커뮤니티를 형성하고 온라인 게임과 접목하면서 Social Network Online Game (SNOG)라는 새로운 엔터테인먼트 분야를 만들고 있다. SNOG는 트위터, 페이스북과 같은 Social Network Service (SNS)의 사회적 요소와 게임적 요소를 융합한 서비스로, 소셜 플랫폼에서 동작하며 사용자들의 오락적 유희와 상호작용 관계를 촉진시키고 있다. 국내 SNOG 시장은 현재 빠르게 변화하고 있으며, 급속하게 교체되고 있는 스마트 환경에 따라 빠른 변화가 예상된다. SNOG는 비용적인 측면에서 기존 온라인 게임과 비교해볼 때 경쟁력을 가지기 때문에 더욱 발전될 전망이다. 이와 더불어 페이스북, 트위터 등 해외 SNS 플랫폼 기반 SNOG 서비스와 관련하여 국내 NHN, Daum, SK 컴즈 등에서 개방형 SNS를 선보이면서 SNG 유치를 위한 경쟁이 치열해 질 것이다. 또한, 모바일 연동 기반 서비스와 관련하여 관련 SNOG 개발이 이루어지고 있으며, 관련 국내 인터넷 업체들이 적극적으로 개발 참여하고 있다. 이러한 환경 속에서 본 연구는 SNOG 시장에 비교적 성공적으로 진입한 Nexon 'Maplestory adventure'사례를 연구함으로써 성공적인 SNOG 요인 분석 및 전략을 정리하고 분석하였다. Maplestory adventure 성공 가능 요인으로는 기존의 인기 있는 온라인 게임에 SNS 접목, 기존의 유저를 통한 marketing, NexonStar 실패요인이었던 Platform문제 해결 등을 들 수 있다. 이 연구는 이후 계속 확산 발전될 SNOG 성공 전략 문제에 함의를 제공하여 국내 게임산업 발전에 기여할 수 있으리라 기대된다.

• 한국콘텐츠학회논문지
• /
• 제9권9호
• /
• pp.114-124
• /
• 2009

우리나라 온라인게임 중 약 73%가 중세배경의 세계관을 갖고 있다. 역사에서 암흑과 야만의 시기로 종종 점하되었던 중세 천년이 디지털 가상세계에서 새롭게 부활하고 있는 것이다. 첨단 테크놀로지로 시현되는 온라인게임에서 '중세'라는 전근대적인 세계가 빈번하게 등장하는 현상은 역설적 이며 의미심장하다. 본 연구는 이러한 문제의식에 기반해 온라인게임에서 중세 세계관이 등장하게 된 배경과 구현양상을 살펴보고자 했다. 이에 중세 판타지 게임의 등장은 현대인들의 전근대에 대한 탈출과 동경 때문이며, 이러한 중세 판타지 세계관은 게임 스토리텔링의 기반 서사와 퀘스트 스토리, 캐릭터 설정 등에 많은 영향을 끼치고 있음을 알 수 있었다. 자연과 초자연의 공존이라는 이중 구조는 중세 판타지 게임의 기반 서사를 설정하는데 중요한 축으로 작용하고 있으며, "목표설정-모험과 투쟁-목표달성"이라는 3단계의 추구서사(quest narrative)를 가진 중세 로망스문학은 중세 판타지 게임에 이르러 퀘스트 스토리에 반영되고 있다. 봉건제로 대표되는 중세의 엄격한 피라미드적 위계질서는 캐릭터 디자인에 의미 있는 메타포를 형성하고 있으며, 플레이어들은 이러한 수직적 구조 속에서 동시에 수평적 연대의식을 통해 온라인게임의 커퓨니티를 구성하고 있음을 확인할 수 있었다.