• Korean Journal of Health Education and Promotion
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• v.30 no.5
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• pp.1-13
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• 2013

Objectives: While many studies have been conducted on whether smoking scenes in films actually affect audience members' smoking, a comprehensive conclusion has yet to be derived. This study systematically reviewed the effect of smoking scenes in films on audience members' attitudes, beliefs, and actions. Methods: We analyzed a total of 146 studies searched on PubMed and PsycINFO (41 qualitative studies, 72 cross-sectional studies, 20 longitudinal studies, and 13 experimental studies). Results: Whereas qualitative studies have only demonstrated that audience members tend to perceive smoking scenes in films not as negative information but as positive information, cross-sectional studies have reported a significant association between smoking scenes and smoking behavior notwithstanding the problems of classifying the groups studied and measuring the degree of exposure. Through follow-up observations, longitudinal studies have reported that such media exposure can serve as a predictor of future smoking. Finally, with exposure and confounding variables under control, experimental studies have confirmed that smoking scenes in films indeed affect audience members' attitudes, beliefs, and actions regarding smoking. Conclusions: Scenes of actors and actresses smoking can be imitated or learned through audience members' immersion and identification and reproduce positive images that may render smoking socially acceptable.

• Korean journal of communication and information
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• v.22
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• pp.249-272
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• 2003

This study discusses on the historical origin of audience's boycott movement to the Korean press. Two historical cases of audience's boycott movement in the early 1920s were analyzed in this study. The first boycott was resolved by the counterforce to the public funeral of Yunsik Kim in February of 1922. This case can be estimated as the historical origin of audience's boycott movement in the Korean media history. The second case was carried out by the National Convention of the Youth Parties in March of 1923. The target of these two cases were The Dong-A Ilbo. And these boycott movement were caused by the conflict and competition between nationalists and socialists in the national independence movement. These two parties were incompatible in the ideology and method of national independence struggle. In the course of their conflict and competition for the initiative socialist party resolved and carried out the boycott movement to The Dong-A Ilbo, because it was regarded as the advocate of the nationalist party.

• Journal of Broadcast Engineering
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• v.26 no.5
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• pp.533-542
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• 2021

In this study, a process of re-creating Jindo Buk Chum, one of the traditional Korean arts, into digital art using various artificial intelligence technologies was proposed. The audience's emotional data, quantified through artificial intelligence language analysis technology, intervenes in various object forms in the projection mapping performance and affects the big story without changing it. If most interactive arts express communication between the performer and the video, this performance becomes a new type of responsive performance that allows the audience to directly communicate with the work, centering on artificial intelligence emotion analysis technology. This starts with 'Chuimsae', a performance that is common only in Korean traditional art, where the audience directly or indirectly intervenes and influences the performance. Based on the emotional information contained in the performer's 'prologue', it is combined with the audience's emotional information and converted into the form of images and particles used in the performance to indirectly participate and change the performance.

• Korean Association of Arts Management
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• no.56
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• pp.217-242
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• 2020

At a moment in which the entire culture and arts field is in crisis due to the Covid-19 pandemic, the audience development strategies practiced by arts organizations require significant adaptation. In this paper we consider the theater for young audiences, Youngji, produced by the TYA(Theater for Young Audiences) Research Center(TYARC) of the National Theater Company of Korea (NTCK). We examine how an arts organization develops youth audiences and creates a participatory culture when normal non-face-to-face engagement is not possible. We applied an Action Research methodology to our research filed, which allowed us to track continuous change based on the evolving practices and contingencies of one arts sector organization. Using Brown and Novak-Leonard's (2011) audience involvement spectrum, Koste's (1995) concept of creative drama, and Moore's (1993) transactional distance theory, we explored the possibility of active audience development by analyzing the ways in which NTCK's arts education has adapted its approach to audience development. We find that, even in this non-face-to-face era, it is possible to effectively develop youth audiences through a dramatic play that continues from play to drama.

• Journal of Intelligence and Information Systems
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• v.17 no.2
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• pp.109-117
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• 2011

The exhibition industry, as technology-intensive, eco-friendly industry, contributes to regional and national development and enhancement of its image as well, if it joins cultural and tourist industry. Therefore, We need to revitalize the exhibition industry, as actively holding an exhibition event. However, to attract a number of exhibition audience, the work of enhancing audience satisfaction and awareness of value for participation should be prioritized after improving quality of service within exhibition hall. As one way to enhance the quality of service, it is thought that the way providing personalized service geared toward each audience is needed. that is, if audience avoids the complexity in exhibition space and it affords them service to enable effective time and space management, it will improve the satisfaction. All such personalized service affordable lets the audience's preference on the basis of each audience profile registered in advance online grasp. and Based on this information, it is provided with exhibition-related information suited their purpose that is the booth for the interesting audience, the shortest path to go to the booth and event via audience's smart phone. and it collects audience's reaction information, such as visiting the booth, participating the event through offered the information in this way and location information for the flow of movement, the present position so that it makes revision of existing each audience profile. After correcting the information, it extracts the individual's preference. hereunder, it provides recommend booth and event information. in other words, it provides optimal information for individual by amendment based on reaction information about recommending information built on basic profile. It provides personalized service dynamic and interactive with audience. This paper will be able to provide the most suitable information for each audience through circular and interactive structure and designed smart-phone application supportable for updating dynamic and interactive personalized service that is able to afford surrounding information in real time, as locating movement position through sensing. The proposed application collects user‘s context information and carrys information gathering function collecting the reaction about searched or provided information via sensing. and it also carrys information gathering function providing needed data for user in exhibition hall. In other words, it offers information about recommend booth of position foundation for user, location-based services of recommend booth and involves service providing detailed information for inside exhibition by using service of augmented reality, the map of whole exhibition as well. and it is also provided with SNS service that is able to keep information exchange besides intimacy. To provide this service, application is consisted of several module. first of all, it includes UNS identity module for sensing, and contain sensor information gathering module handling and collecting the perceived information through this module. Sensor information gathered like this transmits the information gathering server. and there is exhibition information interfacing with user and this module transmits to interesting information collection module through user's reaction besides interface. Interesting information collection module transmits collected information and If valid information out of the information gathering server that brings together sensing information and interesting information is sent to recommend server, the recommend server makes recommend information through inference with gathered valid information. If this server transmit by exhibition information process, exhibition information process module is provided with user by interface. Through this system it raises the dynamic, intelligent personalized service for user.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.4
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• pp.317-328
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• 2018

The purpose of this study is to examine the effect of the quality of performance on audience satisfaction, and to verify the mediating effect of service value and traditional image in this process. The subjects of this study included 211 male and female adults who experienced the Korean opera performance in Seoul, Korea in October. Collected data was used as a model of path coefficients obtained through analysis of covariance structure and hypothesis test. As a result of verification, program quality, physical environment quality, and quality of the stage performance perceived by the audience showed a statistically significant positive correlation with performance experience attributes. The path coefficient between performance attribute and service value, performance experience attribute and traditional image were also positively and statistically significant. Further, the path coefficient between performance experience and audience satisfaction showed a positive relationship. The service value and traditional image, service value and audience satisfaction, and the path coefficient between traditional image and audience satisfaction were statistically and positively significant. Finally, all hypotheses were adopted and study results confirmed the effect of service quality and experience attributes on audience satisfaction for the popularization, modernization and marketing strategy of the Korean opera. In this process, it is meaningful to verify the role and function of service value and traditional image.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.600-611
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• 2016

This study examined the impacts of types of titles of artworks, especially 'untitled', on audience reponse. Generally, naming can be a tool to represent characteristics of objects, affecting their market value and price. Since contemporary artworks are often untitled, this study aimed to investigate how naming 'untitled' would affect audience response. As the size of arts market increasing, how the audience, potential buyer of artworks, responds to artworks is important. Based on prior research, we hypothesized that the audience would have different level of understanding, attention, attractiveness and curiosity to untitled artworks, controlling other factors. In the regression results from the data of 305 respondents, we found that people had significantly lower level of understanding and attention on untitled artworks than on artworks of explanatory or associative titles. In addition, respondents showed significantly higher level of curiosity when the artwork was an painting. This study confirmed the assertions of prior research that titles are indeed important, and further implied that artwork creators should be more concerned on naming their artworks since titles as well as artworks themselves could actually affect audience response.

• Science of Emotion and Sensibility
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• v.8 no.4
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• pp.423-433
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• 2005

The computer hardware development has provided many chances of emergence between art and technology. In many cases today's interactive artworks cannot be completed without audience's participation. The interactive production process with technical supplementation can be celled feedback. Mr. Nam Jun Paik showed 'Participant TV' that interacts with audience's response in real time. It means artwork changes with the constantly changing value from the data set from human visual perception. Dan Graham showed another feedback related work, which delays 5second playback in mirror that implies consequence of time. Today's media art has to sublimate coincidence, time ant audience into philosophical artwork through consonance that comes with video and sound as we can see from Bill Viola. Stelarc produced artworks. That use input data that is weak signals from brain, muscles. Through a terminal display with player, body expanded meaning of media. Jeffrey Shaw's 'Legible City' provided a fabrication of the reality with the interaction of bicycle's pedal speed and steering direction that is controlled by 4river. RE:MARK used microphone as input device as Edmond Couchot's 'Je same a la vent' and Nam Jun Paik's 'Participant TV' did. There is no communication without feedback between human being. The reality makes audience involved into artworks. That is the reason why feedback has to be natural. Through the feedback process, the originality of the idea is altered by audience. The feedback is not just part of flesh of artwork rather skeleton of it. Technological showoff cannot be art itself The perfection of technological application plan helps feedback that interacts with audience naturally in order that audience hoes not feel the feedback as artificial plan. Interactive media art has to be evolved into new media form with new integration feedback technology.

• Korean journal of communication and information
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• v.46
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• pp.485-510
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• 2009

Since the inception of Internet Protocol TV's real-time service on January, 2009, technological challenges and lack of content diversity of IPTV have been cited as problem areas. While past researches focused on IPTV's technological, industrial and policy facets, this research surveyed the viewers' viewing and usage patterns, and the level of service satisfaction among actual audiences of MegaTV, SKBroadband, and LGTV since January. The results show that subscription fee and content types were the two dominant determinants in audience's choice of a particular IPTV company. The high users of IPTV were on average aged between 30-39, and women tended to be heavier users than men. The surveyed audience also regarded IPTV to be more similar to the Internet than any other medium such as Cable TV and Satellite TV. IPTV audience cited 'lifestyle service' and 'additional service' offerings to be highly relevant to their usage and satisfaction; interactive service and educational service also showed high correlation to usage and satisfaction. The most watched contents on IPTV were domestic TV series, followed by foreign movies and variety shows. 'Fees for additional features,' 'lack of real-time terrestrial TV service', and 'lack of content variety' were the major areas of concern for IPTV viewers. They answered that the monthly fee was the most important factor in the selection of IPTV. Use of pay-per-view contents and add-on interactive service fees were also seen as problematic. With regards to future usage, the IPTV audience revealed that they were very sensitive and reluctant to pay for additional services. While existing researches concentrated on IPTV's technological problems and lack of content diversity, this study illuminated the more pragmatical side of the viewers, namely, the importance of price in audience's selection of an IPTV service provider. From these results, it is recommended that, before doing anything else, the service providers try to meet the audience's expected price points in order to garner the full potential of IPTV and the attendant mass audience.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.75-100
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• 2013

An on-going creative process was the major principle of Kantor's artistic endeavors. Kantor's emphasis on process grew out of his frustration with the experience of creation being isolated from the audience in the present time, during the moments of encounter. At the same time, however, Kantor was always aware of the fact that the first night of each and every performance that he made was the last point of his creative intervention. Despite being performed live in the present time, Kantor saw theatre essentially as an end product. This does not mean that Kantor abandoned the concept of on-going process, for process was for the artist a means to reject the idea of a finished work of art and to denounce the feeling of satisfaction derived from the traditional denouement in representational theatre. For him, theatre that dominated his time isolated the audience from the art work and the artist, and from this perspective his continual emphasis on process should be understood as an aesthetic principle in order to open up and expand the dimension of art into the realm of the spectator so that the experiences of both the artist and spectator may coexist. The heaviest barrier that separated the artist and his work from its audience was the creative structure that governed Western art. In theatre it was the dramatic structure that was the main object of his series of severe challenges. Not only did it fail to represent reality but it distorted reality, creating nothing but artificial illusion. Under this condition, all that was permitted to the audience was mirages. However, Kantor never completely discarded illusion from his theatre. The point for him was always to created a circumstance where the illusory reality of drama comes to exist within the dimensions of our reality. It was Kantor's belief that instead of a total denial of illusion, his theatre should strategically accommodate illusion which comes from reality. And, the aim of Kantor's theatrical experiments was to invite the audience into this ambience and transform the experience of his audience into a much more participatory one. This paper traces the ways in which Kantor transgressed the dominating conventions of representational, literary theatre, and how such attempts induced an alternative mode of spectatorship. The study will begin from an investigation into Kantor's attitude towards illusion and reality, and then move onto a closer inspection of how he spatially and dramaturgically materialized his concepts on stage, giving special focus on Wielopole, Wielopole.