• Korean Journal of Child Studies
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• v.20 no.3
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• pp.123-137
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• 1999

This study investigated the influence of audience type (mother or close friend) age, and gender on children's goals and strategies for emotional regulation in angry and in sad situations. Hypothetical vignette methodology was used with 314 children in grades 5 and 7. In angry situations, all boys and all 5th grade children regulated anger more with instrumental motives while 7th grade girls showed more prosocial motives. Children showed more prosocial and rule oriented motives with peers and relational motives with mothers. In angry situations, children used aggression regulation strategies more toward peers and activity regulation strategies more toward mothers. Children's age and sex explained sadness regulation motives better than audience type with peers, but children used more activity regulation strategies with mothers in sad situations. When sad, fifth graders used more verbal and facial expression strategies than 7th graders while boys used more activity regulation strategies than girls.

• Korean Journal of Health Education and Promotion
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• v.7 no.2
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• pp.15-21
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• 1990

It is evidenced that the mass media can play an important role in communicating information to the public. Although some campaigns have failed to achieve success, application of mass communication principles should increase the likelihood of effectiveness. Specifically, campaign strategies should attempt to select message sources that are perceived as credible by the audience. In designing and disseminating messages, the quality of content should be emphasiged as well as the quantity of presencation. The context of message reception should be carefully considered. Selection of channels depends on the configuration of source, superior for most purposes. The crucial role of precampaign audience analysis should not be overlooked.

• Journal of Korea Multimedia Society
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• v.25 no.2
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• pp.382-389
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• 2022

In China, E-commerce live broadcast has emerged as the most popular and innovative online shopping form for today's consumers, and its "real-time interactive" feature can compensate for the communication delays of general online shopping. Based on the author's previous research it has been demonstrated that, in the E-commerce live broadcast environment, Internet Word of Mouth (IWOM) has become an important reference for consumers when making purchases. In this paper, we reconstructed the "IWOM-Purchase Intentions" model and use interaction (Auchor-Audience and Audience-Audience) as a mediating variable to empirically investigate the impact of IWOM on purchase intentions in E-commerce live broadcast. The data were collected through a questionnaire survey of individuals who had experience in E-commerce live broadcast and 250 valid data were obtained and analyzed by SPSS21.0. The results show that: the interaction (Auchor-Audience) acts as a mediator between IWOM (strength of relationship; word-of-mouth quality and word-of-mouth timeliness) and purchase intention; And the interaction (Audience-Audience) acts as a mediator between word-of-mouth timeliness on purchase intention, but has no significant mediation on the impact on the strength of relationship and word-of-mouth quality to purchase intention. On this basis, recommendations are made for the implementation of IWOM marketing strategies for E-commerce live broadcast platforms and anchors.

• Asia Marketing Journal
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• v.22 no.4
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• pp.47-62
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• 2021

Good storytelling is at the heart of BTS as both a brand and a band. Modern brands know that story is no longer an option, but a requirement for keeping audiences engaged. With their consistent and creative reliance on story, BTS has transformed the K-Pop landscape, providing a framework for others in the industry that relies on open-structure narratives, sincerity, and active audience engagement, among other components. To investigate BTS's storytelling strategies, this article breaks down how stories permeate BTS's content, from music and videos to the Bangtan Universe and documentary films. The importance of transmedia storytelling and participatory audiences is also examined. The analysis resulted in a proposed framework that suggests the following components: 1) story as central to the brand; 2) authenticity and sincerity; 3) idol participation in creative output; 4) use of transmedia storytelling and story gaps; 5) intertextuality and cohesion; 6) opportunities for audience engagement; and 7) dedicated creative staff. Utilizing this framework can help K-Pop groups elevate their brands, better use storytelling elements, and gain larger, more engaged audiences.

• Journal of Korean language education
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• v.25 no.1
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• pp.145-167
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• 2014

The purpose of this study is to investigate the involvement strategies in presentation discourse of Korean native speakers and to compare strategies in presentation of Korean learners and international graduate students with that. For this study, the presentation discourse of 13 Korean undergraduates, 21 Korean graduate students, 6 Korean advanced learners, 8 international graduate students was analyzed. The results of the study showed that Korean native speakers used many types of involvement strategies such as conversing, expressing solidarity, expressing closeness. Asking questions to audience was a representative type of conversing. And expressing solidarity was divided using 'we' and sharing experience. expressing closeness was also divided insertion of personal cases and joking. On the other hand, Korean learners and international graduate students used simple types of involvement strategies. Based on these results, I have proposed a few teaching ways for involvement strategies.

• International Journal of Contents
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• v.17 no.4
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• pp.101-118
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• 2021

The prevalence of We-Media short videos has attracted emerging independent fashion designers (EIFD), a new force in the fashion industry directing their brand promotion to We-Media for amassing online followers. However, compared to famous content generators, EIFDs' creative, design-based visual appeal has not provided them with the significant edge. The former's success is admittedly supported by the platform backstage algorithm. Yet, the content is the cornerstone for building relationship between the sender and the reception. The authentic perception of the content is one of the basic appeals for which the audience chooses to follow the source. Therefore, with the EIFD short video as the research content, this study is established from the audience's perspective to understand the different dimensions of their authentic perceptions of EIFDs short video. The study was conducted mainly in the form of the Q method. The collection of 52 Q samples were realized through the Focus Group Interview and literature review on multidimensional authenticity. Thirty-six subjects participated in the sorting of the Q-sets. Finally, four dimensions of audience authenticity perceptions of EIFDs were derived: 'ingenuity', 'relevant', 'transparent', and 'experiential'. The corresponding short video content design strategies are suggested for effective communication of EIFDs and their personal brands.

• 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.

• Korean Journal of Adult Nursing
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• v.14 no.2
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• pp.276-286
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• 2002

Purpose: The concept of embarrassment as an unpleasant emotion is important in caring for those who are in the continuum of illness and health requiring body care and facing sexual problems. In spite of its nursing implication, embarrassment has not been focused in nursing research. Therefore, the purpose of this paper is to develope a conceptual analysis of embarrassment. This analysis would help to understand comprehensively an embarrassing situation in which an intimate relationship between nurse and patient regarding body care of the patient could develope. Futhermore, it would be a basis for developing strategies for prevention of embarrassment which could lead for both patient and nurse to emotionally vulnerable situation because of their failure of self-presentation (impression management). Method: The concept analysis model suggested by Walker and Avant (1988) is used to clarify what is meant by the term 'embarrassment'. Result: This analysis defines the attributes of embarrassment such as follows. First, embarrassment is often attributed to situational factors interrupting a smooth interaction such as intimacy, confusion, vulnerability, exposure of interaction and characteristics of audience. Second, embarrassment is closely related with cognitive factor such as fear of losing face resulted from a behaviour being out of line. Third, embarrassment is closely associated with dispositional factor such as embarrassability. Fourth, embarrassment is an unpleasant and unwanted emotion arising reactively after an interaction had occurred. Fifth, embarrassment encloses physical, physiological and behavioral aspects such as a variety of unique and easily noticeable reactions and a pattern of verbal and non-verbal behaviour for coping in an embarrassing situation. The antecedents were normally socialized adolescents with normal cognitive ability, concern of losing face, embarrassability, embarrassing events related with situational intimacy, confusion, vulnerability, exposure of interaction and characteristics of audience, physical, behavioral blunders resulting in a failure of impression management. The consequences were an emotional coping behaviour, audience's embarrassment responses, and verbal and non-verbal coping strategies of interactional participants. Conclusion: It is hoped that this analysis will stimulate further exploration of this concept and study for developing systematic assessment and nursing practice that diminishes embarrassment of interactional participants.

• The Journal of the Korea Contents Association
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• v.14 no.9
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• pp.85-92
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• 2014

This study analyzes what kind of representation strategies make popularity in Silence. As audiences come together in cyber public sphere, 'participatory spectatorship' is made. Its sources are classical narrative mode and collective memories which are the devices to goad audience to anger. Silence reveals self-reflexivity because fact-based film has effect on allowing the audience to be aware of the reality constantly. However, the devices which maximize audience's anger aroused ethical controversy. Silence's unethical expression is the strategy for representing the popularity and the methodology for social ethics.

• Journal of Korea Society of Digital Industry and Information Management
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• v.10 no.1
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• pp.147-155
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• 2014

The rapid increase in the penetration rate and diverse utility of smart devices opens an opportunity for a development in creating a user-oriented ubiquitous system. And it allows audiences to deploy the exhibition-helping contents regardless of the restriction of place and time with using the smart devices of audience themselves. Also it needs to build a mobile web-based portal system for the related services. To do this, Firstly, it needs the corresponding strategies on a smartphone-based environment such as technical competence, systematic preparation of exhibition with compatible mobile contents, and a compatible channel for interactivity. Secondly, it needs the differentiation of exhibition guide with the existing system: an adoption of augmented reality, panoramic technology and simulation effect aiming for an improvement in a sense of immersion and reality for audience, and building up additional contents with a diversity of formats of image, sound, and video for customer satisfaction.