• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.1-12
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• 2019

Based on the capabilities of smartphone cameras which have developed rapidly in recent decades, coupled with and the global market penetration rate, it will study the possibility of various international exchanges through smartphone filmmaking. This aims to achieve a civilian-oriented cultural exchange, instead of simply providing capital-oriented exchanges and film production education. The Smartphone Film Workshop was held as an auxiliary event of the Korea-Vietnam Film Festival, which ran from November 17 to 22, 2017. The three-day workshop, which took place within the festival period, drew attention for its international collaboration project between Korean film directors and Vietnamese film students. The researcher conducted practical-based research while participating as a mentor at this workshop. A step-by-step approach to the entire process of production and post-production was administered, including workshop team composition, scenario, and pre-production in Korea such as shooting equipment, schedule, completion of local works, and screening. Through an analysis of exchange cases at international workshops, we will use trial and error as ways to improve and consider the results of cultural exchanges and the effects of future expectations. Taking this empirical case study into account, we anticipate more active international exchanges through the smartphone workshops.

• International journal of advanced smart convergence
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• v.13 no.1
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• pp.23-36
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• 2024

Interest in virtual humans continues to increase due to the development of generative AI, extended reality, computer graphics technology, and the spread of a converged metaverse that goes beyond the boundaries between reality and virtuality. Despite the negative public opinion that virtual humans were just temporary form of entertainment event in the early days of their emergence, the reason they are showing continuous growth is due to the unique characteristics of virtual humans and the expansion of diverse usage from technological advancements. The production of video content using virtual humans is becoming vigorously active, but currently there is limitation and no exact process for the technology to apply virtual humans to video content for it to be produced accordingly to the characteristics or situations of virtual humans. In this study, we investigated the characteristics of virtual human production technology methods & processes, and identifying the impact of each production technology on the production environment through examples of virtual human content applied to domestic and international video contents. In conclusion, by proposing an appropriate production method for each content, we hope to develop and assist production practitioners so they can effectively use virtual humans in video content production.

• Journal of Digital Convergence
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• v.14 no.2
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• pp.369-376
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• 2016

This paper will discuss the process behind creating casual games utilizing Spritekits. Casual games, which recently have been on this rise due to the increasing use of personal adhered media and SNS, are significant in that they are leading the way to various changes in the gaming industry whilst making it popular. With this background in mind, and through research on Casual Games, we have divided the production process of Casual Games into three parts and created the game "Round and Round" which utilizes Spritekits. We have sectioned and organized the production process of Casual Games into four parts as followed: information architecture, design, program development, and debugging. This research will propose an easier methodology to approaching the production of casual games and be a guideline for creating games with the minimal amount of personnel.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.81-89
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• 2018

The purpose of this study is to classify the types of internet personal game broadcasting in China and to examine viewers' preferences type of it. By targeting top 100 creators of Player-Unknown's Battleground streaming as a personal game broadcaster with over 100,000 followers, the game types were classified based on the purpose and characteristic of game broadcasting such as game play, entertainment, and audience participation. As a result, the type of internet personal game broadcasting in China was classified into progamer type, cooperative playing type, storytelling type, and reciprocal entertainment type. The progamer type was 38% and it was the highest proportion of Player-Unknown's Battlegrounds streaming. Next came storytelling type, cooperative playing type and reciprocal entertainment type with 25%, 19% and 18% respectively. In sum, progamer type and storytelling type which shows relatively low real - time communication with audiences accounted for a high percentage of 63%. This implies that the characteristics of the broadcast media focused on 'showing' have influenced the production and planning of personal game broad casting. The interactive characteristics of the platform of personal game broad casting can be expected to gradually change the conventional customs of broadcasting media.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.103-111
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• 2012

This paper is a basic study for making a system that can predict the success and failure of entertainment contents at the initial stage of production. It proposes the user's emotion modeling of dynamic narrative on entertainment contents. To make this possible, 1) dynamic narrative emotion model is proposed based on theoretical research of narrative structure and cognitive emotion model. 2) configuring the emotion types and emotion value, proposed model of three emotion parameter(desire, expectation, emotion type) are derived. 3)To measure user's emotion in each story event of dynamic narrative, cognitive behavior and description of user(film, game) is established. The earlier studies on the user research of conceptual, analytic approach is aimed of predicting on review of the media and user's attitude, and consequently these results is delineated purely descriptive. In contrast, this paper is proposed the method of user's emotion modeling on dynamic narrative. It would be able to contributed to the emotional evaluation of entertainment contents using specific information.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.152-161
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• 2023

Modern people live a life connected with the real world and the virtual world by relying on the new media of enterprises and social consumption led by innovative technologies. In this environment, virtual influencers actively communicate with consumers and build relationships through social media, which is a new marketing tool that has attracted widespread attention. From a business perspective, it is necessary to have a solid understanding of this phenomenon, and then explore communication strategies to effectively develop virtual influencers. To investigate followers' preference for virtual influencers, this study employs the Q-method, which studies human subjective attributes, an empirical research effort to uncover complex issues in human subjectivity. To determine the factors that trigger people's voluntary and active practice and the preference degree of virtual influencers, the Q method is implemented to examine human subjectivity, thoughts and attitudes. According to the results of this study, virtual influencers are a new group of idols full of vitality. The interviews found that there are still many virtual influencers who do not know about followers, but each type can be clearly understood through the intuitive understanding of the interviewees. Divided out, type 1 one egoideal virtual influencers aim to represent an idealized version of the creator or target audience. Embodies ideal physical characteristics, personality or lifestyle desired by the audience. Type 2 is charismatic and attractive, and has the characteristics of most virtual influencers. It is suggested that it can be developed into a potential type, doing brand cooperation, and content production on social media platforms. Type 3: Game animation, derived from the image of characters in games or comics, with stylized features and energetic personalities, which can be integrated into games or entertainment experiences. Type 4 development potential type is the most successful type among virtual imagers, and it is also the purpose of marketing virtual influencers. It is essential that brand endorsement on social media platforms, integrated marketing, and driving advertising traffic. It is recommended to improve production technology to reduce investment costs.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.1-13
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• 2019

This study examines the impact of factors that affect Hollywood movies' box office performance, using a sample of 149 movies that were ranked number 1 on the first week of release between 2014 and 2018. Such factors as production budget, the number of opening screens, the valence and volume of both critics and netizens, rating, distributor's power, remake, high season, genre are introduced to analyze box office performance. The result shows that the determinants of the US box office and the total box office are different. Considering the difference in budget by genre, the number of opening screens is not influential in the US box office performance of all genres with production budget of less than $100 million. The result suggests the need to refine more elaborated models for future research on box office performance.

• Analyses & Alternatives
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• v.8 no.2
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• pp.5-30
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• 2024

The purpose of this paper is to study the concept of public interest in broadcasting, which has been approached only from a policy or legislative perspective in Korea, through analysis of the program content itself. To this end, this study focuses on French broadcasting, which has a long history of public service, has learned the concept of 'public interest' during its long growth process, and has specifically put this concept into practice through program production. Analysis of French TV programs that have been broadcast over the past 10 years categorizes the concept of public interest that French broadcasting has embodied into the following three categories. The first is the characteristic of 'freedom of speech: 'participation' and 'generality' in the public sphere' shown by discussion programs or talk shows. The second is the characteristic of 'transmission of cultural identity', which is shown even in entertainment programs. The third is the characteristic of 'social capital: spreading the value of social solidarity' shown in documentary or discussion programs. In addition, we examine how French broadcasting is implementing public interest at a time when digital media such as YouTube or Instagram are becoming the center of the media environment, and a digital public social media called 'Culture Prime' created by public institutions.

• Review of Culture and Economy
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• v.20 no.1
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• pp.21-50
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• 2017

The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea's media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry's response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu's archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.351-361
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• 2019

The objective of this article is to identify an alternative strategy for brand marketing through a case study of the Korean boy band BTS, which has recently seen a huge success in the global music scene. BTS has actively used transmedia storytelling as a tool to survive in the competitive music market. Transmedia storytelling refers to stories that are expanded across different media platforms, engaging audiences to explore from one medium to another to undergo multiple experiences. It gives audiences various ways of enjoying cultural content and participating in cultural content production through numerous media outlets. BTS has established and spread its fictional universe through albums, music videos, short films and webtoons, and has launched diverse projects where fans actively share, create, and play with their content. By inviting fans to actively participate in and interact with the BTS universe spreading through multiple media platforms, BTS can keep its fans engaged and energized. These activities have generated an emotional bond between BTS and their fans, which further leads to a worldwide fandom, based not on a producer-customer relationship but on mutual trust. The BTS case demonstrates the potential of transmedia storytelling as a useful benchmark to provide a positive brand experience for customers, which eventually enhances brand attachment and brand loyalty.