• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.230-240
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• 2011

The personality types has been emphasized as one of the influential factors for the program selection by viewers in the multi-channel and multimedia era. However, there have been few empirical studies on this issue. The current study investigated how the audience personality influence the program preference. Specifically, this study focused on both need for cognition and sensation seeking which are related to the television viewing motivation. To examine the influence of personality on program preference, four types of drama and five types of entertainment programs were used. The results of the web survey showed that viewers personality type seem to have effect on their program preference. Indeed, it appeared that there was positive relationship between need for cognition and sensation seeking. The implications of this study's findings were discussed.

• Journal of Game and Entertainment
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• v.2 no.2
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• pp.51-60
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• 2006

Recently, many streaming videos including drama, music videos, and movies have been extensively given on the web. Such video services are on negative lines in any service restriction depending on the age of users and then whole part of a video have been restricted considering the age of users. Therefore, in this paper, we will present a new method that provides the access depending on the ages of users and also sets the video rating of each scene in a video. To get this restricted access for video, we will first divide a streaming video into many scenes using histogram techniques. Each scene gets an access control depending on the nudity level. Finally, we will make the video indexing including the access level depending on its nudity level and then hide restricted scenes using several masks in playing that streaming video.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.134-144
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• 2011

Crossmedia Storytelling is receiving attention as a new style of description in the age of limitless competition and infinite fusion among media. Crossmedia Storytelling specifies a form of storytelling carried out through mixed usage of plural media, such as televisions, movies, and web services. It is different from OSMU strategy in that plays one source of contents according to the characteristics of various media while Crossmedia Storytelling demands users' active participation. Moreover, it is also slightly different from Transmedia Storytelling in the point that narratives of each media are not complete themselves and only through effectively combining plural media can the whole story fully enjoyed. This research aims to analyze how users move among media in terms of Crossmedia contents by examining cases of Swedish interactive drama series , from Australia, and from the United States. To do so, first, the paper looks into the principles of Crossmedia communication and examines that it is based on online word-of-mouth communication, such as viral marketing. As a result, the following was found in the cases of Crossmedia Storytelling: negative stories that arouse users' emotional reactions & users' participation are effective, and the set-up of Sneezer, which causes the knowledge gap, is very important. It was also found that users' participation was actively taking place through online WOM communication in Crossmedia Storytelling.

• The Journal of the Korea Contents Association
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• v.18 no.6
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• pp.706-718
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• 2018

This study analyzed Naver TV users' pattern of video clip watching, and analyzed the factors affecting the popularity of Naver TV's video clip. We selected 572 individual video clips that were ranked 50th in Naver TV rankings from September 10th to September 24th in 2017. We classified video clip's characteristics into several factors, including the number of likes, the number of subscriber, genre, video clip's types, and star appearances. We indexed the popularity of video clip, which implies the degree of popularity for each video clip. The results showed that the number of likes for video clips and the number of subscribers for each video clip were positively related to the popularity of video clip. Video clip's genre, video clip's type and star power positively affected the popularity of video clip. The effect of extras genre on the popularity of video clip was the lowest, followed by entertainment, music, and drama genre. but the difference among entertainment, music and drama genre was not statistically significant. Web-only video and non-broadcast video positively affected the popularity of video clip. Finally, the popularity of video clip was higher when stars appeared in the video clip.

• The Korean Journal of Archival Studies
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• no.29
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• pp.35-78
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• 2011

This study is intended to recommend for acquisition methods of the theatre collection. Theatre activities is representative of the performing arts, and the Korea theatre history start from the modern history of Korea. In the meantime, theatre collections has already been lost by a lack of effort and management, and scattered most of the collections. In particular, a one-off nature and volatility of theatrical performances make future generations to enjoy the performances and to study should consult the relevant records. Therefore, collecting records can be very serious mission. In this study, theatre collections of the country which aims to collect and analyze the characteristics and type of theatre collections. Based on this information, collection scope, targets, priorities, acquisition level, method of collecting are proposed the following. First, collection scope is defined for the theatre related collections which was performed nationwide in the 1900s, the times that modern theatre was begun. The object includes related information of planning, administration, drama (script), directing, stage design, public relations, production, evaluation, personal records, biographical data, group data and space data. Second, the theatre collections are divided into records and historical records. Priority of collections object is determined by the historical value and the theatre performed by the support of public organization. Third, the acquisition level is divided into archived, mirrored, web linked and database, which is proposed by the determined levels of mandatory, recommend and discretion according to the characteristic of performance. Fourth, acquisition methods are suggested by the general acquisition methods of transfer, donation and purchase as well as the methods of copy, production, legal deposit, entry and web link etc. The acquisition of theatre collections is executed on digital-based environment, and a centralized authority control should be establishmented. And through the development of network with theatre's stakeholders and the cooperation of related organizations, theatre collections acquisition is feasible.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.85-95
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• 2021

Currently, we stand between computers as creative tools and computers as creators. A new genre of movies, which can be called a post-cinema situation, is emerging. This paper aims to diagnose the possibility of the emergence of AI cinema. To confirm the possibility of AI cinema, it was examined through a case study whether the creation of a story, narrative, image, and sound, which are necessary conditions for film creation, is possible by artificial intelligence. First, we checked the visual creation of AI painting algorithms Obvious, GAN, and CAN. Second, AI music has already entered the distribution stage in the market in cooperation with humans. Third, AI can already complete drama scripts, and automatic scenario creation programs using big data are also gaining popularity. That said, we confirmed that the filmmaking requirements could be met with AI algorithms. From the perspective of Manovich's 'AI Genre Convention', web documentaries and desktop documentaries, typical trends post-cinema, can be said to be representative genres that can be expected as AI cinemas. The conditions for AI, web documentaries and desktop documentaries to exist are the same. This article suggests a new path for the media of the 4th Industrial Revolution era through research on AI as a creator of post-cinema.

• Cartoon and Animation Studies
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• s.38
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• pp.177-194
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• 2015

This study that had been conducted two months by a research team of Pusan National University at the request of Korea Manwha Contents Agency in Dec. 2013 is about the statistical analysis on 'Korean Webtoon DB and its Flow Report' which resulted from the complete survey of Korean webtoons which had been published with payment in official media from early 2000 to 2013. Webtoon which means the cartoons published on web has become a typical type of Korean cartoons and has developed into a main industry since 2000s when traditional published cartoons had declined and social environments had changed. Today, it represents cultural contents in Korea. This study collected the webtoons officially published in media with payment, among Korean webtoons having been published from the early 2000s to Jan. Based on the collected data, it analyzed the general characteristics of webtoons, including cartoonists, the number of cartoons, distribution chart of each media, genre, and publication cycle. According to the data analysis and statistics, a great deal of Korean webtoons are still published in main portal websites, but their platform is being diversified and a webtoon's publication cycle tends to be shortened. In terms of genre, traditional popular genres, such as drama, comic, fantasy, and action, are still popular, and the genres of history, sports, and food are on the rise along with a social trend. Regarding webtoon application, such events as relay webtoon and brand webtoon, and a new type of webtoon featuring PPL commercialism appear. Such phenomena can realize the common profits of cartoonists, media, and ordering bodies, and are various trials to test the possibility of webtoons. In addition, what needs to pay attention on in the expansion of webtoons is increasing webtoons for adults. The study subjects are the webtoons published with payment, excluding free webtoons. However, this study failed to collect the webtoons published on the online websites already closed, and the lost information on cartoonists and their lost webtoons, and it is necessary to conduct a complete survey on all webtoons including free ones. Despite the limitations, this study is meaningful in the points that it categorized and analyzed Korean webtoons accoridng to official media, webtoons, cartoonists, and genres and that it provided a fundamental material to understand the current conditions of webtoons. It is expected that this study will be able to contribute to activating more research on webtoons and producing more supplementary data which will be used for the Korean cartoon industry and academia.