• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.399-411
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• 2019

TV Broadcasting is an undeniable cultural medium. TV Broadcasting Station needs a long-term perspective that suits cultural media and an aggressive cultural and artistic program development strategy that matches rapidly changing culture and technology. Of course, production staff should be composed of experts in the field as well as cultural artists. This paper is researching the promotion strategy of TV Arts programs by substituting the three keywords - the U.S., the public broadcasting station(TV) and Arts programs. And through case studies and analyses of PBS TV's "Art in the 21st Century" series, the way the public TV broadcasting station shares cultural arts with viewers is extracted. It raises the question of how the U.S. TV public broadcaster's cultural and artistic programs are different from South KOREA's. Through the above research, let's find a clue to the future direction of how the new media, now represented as Korea's blacklist, should recognize, foster, educate and strategize Fine Arts.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.148-149
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• 2005

• Journal of Science of Art and Design
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• v.11
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• pp.37-49
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• 2007

TV animation has come a long way to this date since popular animation programs were aired on TV, such as 'Run Little Tiger', 'Run Honey', 'Hurry-Scurry Yeongsimi', beginning with 'Wandering Magpie' on KBS in 1978. However, problematic production process has resulted in the degradation of quality. Consequently, the dwindling viewing rate forced animation advertisers to leave, and the animation production shrank. Under those unfavorable circumstances, the government started to heed messages transmitted from animation producers and went ahead with the 'animation broadcasting quota' in a bid to help revitalize Korean animation industry. This study aimed to identify problems and set the direction for the animation industry by analyzing its fundamental and structural problems.

• International Journal of Computer Science & Network Security
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• v.22 no.3
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• pp.245-251
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• 2022

In the context of the pandemic, educational institutions had to ensure an instant transition to remote technological models of communication within the new conditions of the educational environment. The purpose of the academic paper lies in determining the role of the communicative model of educational transformations in the realities of (post) modernity. The research methodology is based on a survey of 120 students from 10 higher educational institutions (HEIs) of Ukraine through an online form regarding the importance of live communication during a pandemic. Results. The communicative model changed significantly during the pandemic - the interaction was mainly due to technologies. The research has identified four communication models of educational transformations under the conditions of the pandemic, depending on learning models. The first traditional model of distance learning involves distance learning; the second model involves contact remote training using remote educational technologies; the third model is blended learning, which combines remote and traditional learning formats, synchronous and asynchronous modes of interaction; the fourth model is traditional contact training. The empirical study of the effectiveness of communication models proves that live communication remains extremely important for learning and understanding of educational materials by students, and technology has provided support for such communication. Along with this, seminars and video lectures with presentations combining live communication and communication technologies are as important as digital learning tools. The most effective teaching method for mastering and memorizing educational material was a live dialogue with a teacher at seminars in ZOOM, followed by individual written assignments on the studied topic.

• Journal of Korea Multimedia Society
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• v.21 no.12
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• pp.1513-1525
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• 2018

This study examines the mechanism of how the dispositif, a dispositional concept of television, which is changing in form, Q-Sheet, is expressed as 'ideology' embedded in television. The dispositif implemented in television aims at the realization of mechanical desire through the internal disposition and makes the reality that it dazzles the public by adjusting the density of the gap and depreciates the existence of the aura itself. Instead of gaining new experience through the disposition, the public accepts the manipulated experience and falls into the illusion that it is true. In the television literacy program, the Q-sheet acts in the intervals and gaps that exist in the movement between the stacks, spreading the ideology, and the act of Channel Surfing by using the remote control is also a dispositf form of television viewing. In modern capitalist societies, television disposition are regenerating through proliferation and expansion, showing intent to dominate even art and culture through disposition, and autonomously injecting ideologies by television disposition.

• Trans-
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• v.1
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• pp.21-44
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• 2016

Advertisement is composed with symbol and sign with messages trying to express. Especially, ad with dancer introduces goods or meaning of contents with the motion of dance. In this, contents of dance or motion of dancer contains symbol and sign, understanding how ad and dance are expressed meanings with which symbol and the symbolic meaning of dance or dancer on ad. To that end, this study is for analyzing expressed symbol with dance corresponds with the aim of ad and finding the way or attitude of how normal people accept dance by reevaluating symbolic meaning of dance itself. In this study, advertisement producer and director's related data is secured for understanding direction and intention of producer, and previous study related with the study purpose, image, and effect are analyzed for understanding image of dance as a physical sign on TV advertisement. With data from www.TVCF.co.kr. TV advertisement analysis is conducted only with four ads in 2008(Nam Kwang Eng. & Const Co., Lotte Dept. Store(premium sale/gift card), Hyundai Motor Company Santa Fe -Pilobolus) and one ad in 2011(PNS The zone Sash Italy Arena di Verona when dance was used for advertisement with the highest frequency per year. Also, based on considered important factors from repeatedly watching each advertisement, scenes where movement or motion of dancer and screen word is greatly changed are analyzed as a priority. Image analysis of dance is conducted with structure studies based on physical image(line, costume, expression) and dan image(type motion, qualitative feature, mood of dance). As a result, the symbolic dance image appeared in TV advertisement can be discussed as follows. First, symbol and sign of dance on advertisement corresponds with material objects of advertisement. For instance, on the TV advertisement where Lee Youngwoo appeared, his motion as a signifer means challenge for the future of Nam Kwang Eng. & Const Co., with fast turn, jump, assemble turning jump, and sliding. Second, physical image of dancer depending on intention of sender corresponds in general, but there are somewhat differences in image of dance. This makes people to unconsciously recognize symbolic image of dance on TV ad while they watch it at the same time. Especially, when it comes to advertisement, it exposes frequently with broadcasting of organized programs from a broadcaster, living long-time memory. It can be differ based on idea and character of each of receiver. Advertisement is a medium making people naturally adopt cultural art for ordinary people in their lives. Broadcasting public art from TV advertisement widely exposes pure art to people, which was only avaliable for minority, sublimating it as an art of public culture.

• Journal of Fashion Business
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• v.11 no.3
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• pp.124-132
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• 2007

This study aims at inquiring into the image and characteristics of suitable hair style by occupation between movie actresses, TV talents, fashion models, singers and MCs who undergo the biggest influence on the management of international image and the inclination of appearance. For this, it made a survey of the image and characteristics on 177 women in their twenties to thirties living in Seoul city, providing photos of entertainers' six hair styles by image. The results of this study were as follows: First, it showed that movie stars or TV talents shone into one work of movie or TV become accustomed to natural, casual and romantic image. Second, it showed that singers or fashion models become accustomed to ethnic and unique style, as they follow an occupation that adjusts to their concept to show their clothes.

• Journal of Fashion Business
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• v.16 no.3
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• pp.63-77
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• 2012

This study action drama TV drama 'Ya-ha'(夜叉) the actual work practices of the pre-consultation stage through the Writers, Producer, Art directors and in consultation with the opinion of the character set the record of the contents and character changes over time in accordance with characters makeup the design elements were analyzed. The methods of study was used local and abroad related books, studies, publications and cases and the subjects were limited to be four male make up characters in drama 'Ya-cha'. As a result, TV action drama 'Ya-cha' make up design elements and representation techniques were classified as description of skin tone, wound, the shape of eyebrows, hair type, shape of beard and materials and carried out an important role in the character representation. First, presentation techniques changed skin tones depending on character and position and described wound shape as expression technique and materials were analyzed. Second, the shape of eyebrows was based on the physiognomy of the form. And hair type changed volume, thickness, length and texture depending on character. Third, shape of beard is expressed different kinds of volume, thickness, length and texture depending on character. There fore, that systematization of the make-up design elements is useful to express stable characters and make drama for make up in various image genres.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.325-326
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• 2014

With a history of over 100 years, animation is an art of film and television, and a diversified special form of art as well. Animation scene design is not just about scenic painting but also a time-space formative art that serves for film and television animation, presents story plots, unveils dramatic conflicts and depicts character personalities. Scene design requires both high creativity and artistry. Scene design shall cover the living places, social environment, natural environment and historical environment where the characters live. The use of color is an important part in animation creation. In terms of scene design, it plays a significant role in building up the scene atmosphere, promote the plot and enriching screen contents. Focused on Uproar in Heaven-a classic Chinese animation, this paper analyzes the traditional characteristics of Chinese animation scene color and discusses the application and development of color.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.574-583
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• 2016

This study discussed how the Moo-hyup prototype that has been formed from novels and comics was applied to TV drama in modern form beyond martial art movies, historical TV series and games by exploring Japanese TV drama . This study showed that follows the Moo-hyup prototype such as imaginary space and violence, the relationship between characters with the spirit of Moo-hyup, and the structure of Moo-hyup story rather than a story of teenagers' growing-up. This study is ultimately expected to reveal the possibility that the Moohyup prototype can be applied to the TV drama in modern form as well as historical stories.