• Journal of the Korean Home Economics Association
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• v.45 no.2
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• pp.77-90
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• 2007

Using 2004 Household Income & Expenditure Survey, this study investigated difference in consumption pattern among the households with the different number of children, and estimated the monetary cost of rearing children. The findings were as following. First, the major consumption categories for raising children included the expenditures for education, food materials, utility, health, and communication. Second, the potential consumption needs for clothing & foot ware and culture & entertainment were not fully satisfied for the households with children compared to the households without children. Third, in the households with one child, the level of consumption was about two thirds of that in the households without children. It was slightly above half in the households with two children. Lower consumption level of the households with children was mainly due to the burden of the educational expenditure. Forth, the average monthly cost of raising children was estimated by 680 thousands Won for one child, and 104 thousand Won for two children. Lastly, the implications for the fertility policy and the methods for the estimation of the child cost were suggested based on the results.

• Journal of Korea Game Society
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• v.16 no.3
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• pp.77-86
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• 2016

As the focus of game market moves to mobile era, payment on cyber money, specifically for Gacha system, possesses a large portion for creating profit in game industry. For this reason, this study mainly focuses on Puzzle and Dragon, the mobile game of Gungho online entertainment in Japan, which has made enormous profit for several years. The analysis on consumer sentiment for Gacha are categorized as below: (1) gambling mentality and cognitive error in stochastic game in God festival (2) reactional psychology for scarcity message in limited time God festival and collaboration (3) personal satisfaction through friend system and character collection.

• Fashion, Industry and Education
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• v.16 no.1
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• pp.46-55
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• 2018

The purpose of this exploratory study was to enhance the understanding of how brands tilize emojis in their marketing practices. A content analysis was conducted utilizing Google News as a search tool to access articles containing information pertaining to the use of emojis by brands. The combination of keywords used for the search were "emoji", "business", and "marketing". The search was narrowed down to the period of January $1^{st}$, 2014 - November $29^{th}$, 2017. This method generated a total of 604 trade publications with 55 of them providing information pertaining to specific brands and their use of emojis in their marketing strategies. A content analysis of trade publications has revealed that a variety of marketers have utilized emojis in their brand marketing practices. The entertainment, service, and food/drink industries have predominantly utilized emojis in their marketing practices, and their primary purpose for using emojis was to increase consumer engagement. Brands applied most of these emoji marketing strategies to an online or digital setting, whether it was social media pages, mobile applications, or any other form of computer-based marketing. Although there are limitations to this exploratory research in terms of its methodology, the findings of this study provide interesting insights into the potential of emojis as a marketing tool.

• The Journal of Korea Robotics Society
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• v.14 no.3
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• pp.163-169
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• 2019

Robot ALICE@ERICA is a service robot developed to receive donations and to provide information services. ALICE@ERICA stands for Artificial Learning Intelligence robot for Culture and Entertainment at ERICA. In order to achieve the specific purpose of receiving donations, proper appearance design, appropriate movement and good communication skills are required in terms of HRI. In this paper, we introduce three strategies for developing robots to receive donations effectively. The first is to design a robot that makes people feel intimacy, the second is to approach only one of several people as a donor, and finally the donor communicates with video contents and voice recognition. A survey was conducted on the person who showed the reaction after the robot donated money in public places. Based on the survey results, it is proved that the method presented in this study effectively contributed to fund raising. If robots can perform actions that require high level of HRI, such as donation, robots can contribute more to human society. We hope that this study contributes to the improvement of human happiness.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• Journal of Information Technology Applications and Management
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• v.25 no.4
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• pp.123-143
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• 2018

The domestic multiplex industry provides consumers with a choice of movies and a variety of contents and entertainment facilities and services. In addition, the number of movie theaters with the significant market potential is also steadily increasing in the competitive multiplex market environment. For the analysis, we conducted research on 300 adolescents who have experienced using domestic multiplex mobile service within the recent year. This study examined the structural relationship among the multi-dimensional mobile service quality of multiple, enjoyment of use, and online word of mouth intention. Also, it explored the mediating effect of enjoyment of use and the moderating effect of gender in the structural model. As a result, the mobile service quality of multiplex has a significant effect on the online word of mouth intention through the enjoyment of use. However, there was no moderating effect of gender of participating adolescents in the relationships. Based on the analysis of empirical results, this study discussed a series of theocratical and practical implications for the marketing strategies of multiplex in the highly competitive market.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.9-37
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• 2020

The present study examines the transnational "Hallyu" (the Korean wave) phenomenon after the 1990s in the context of a solidarity movement of East Asian women. It also focuses on the passion for the world stage given the cultural industry was supported by the government as a "chimney-less factory" during the IMF financial crisis. Over the past twenty years and through Hallyu 1.0, Hallyu 2.0, and Hallyu 3.0, "K-entertainment" has been advocated, as a concept that encompasses K-drama, K-pop, etc. in the cultural industry. Furthermore, everything Korean, through K-culture, is being put at the forefront. However, there is insufficient discussion regarding the actions of the women who led the Korean wave. This paper examines the female fans and girl groups who played leading roles in the rise of popular culture and its transnational prominence within the context of the female agency and female labor involved. The lack of acknowledgment of their roles is linked to the current erasure of the discussion on the female youth. Discussion on "woman" is still limited to the domain of reproduction in the generational discussion that has replaced the existing nation-state or class led discussions in the current era of neoliberalism. However, since The reboot or the popularity of feminism in recent years, the interest in the female narrative, in works such as 'Kim Ji-young, Born 1982' has been expanding beyond East Asia to the rest of the world. Just as Hallyu was created by women in the beginning, there is a new trend in which women across national borders are joining in solidarity. As such, the present study attempts to prove that the female fan, girl group, and female youths must be one meta-narrative through a feminist reading, rather than individuals with separate identities.

• (The) Research of the performance art and culture
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• no.19
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• pp.161-190
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• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• Archives of design research
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• v.18 no.1 s.59
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• pp.105-114
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• 2005

With the upcoming Digital age, it is time to develop digitalized contents based on cultural basis. in this respect, Kimchi is one of the most primal cultural content signifying Korean culture. It's no doubt the time to initiate the movement to digitalize the contents concerning Kimchi by gathering materials on the origin of Kimchi culturally and a great value to revive digital contents regarding Kimchi. Therefore, in this research, it is regarded that Kimchi is one of the most prominent cultural value that is possible to inherit from generations and should be stratified on the database. A method explaning Korean Kimchi culture is sought in this paper. And It is focused on the culture of Korean Kimchi profoundly and focus on detailed context and varied styles of he digital contents. It is organized on the basis of various aged volumes regarding Kimchi classified by seasons, ingredients, Jonga Kimchi (Kimchi inherited from the oldest family by generations), 24 seasonal divisions of the year, and 8 regional divisions of the nation. It is planned to set up digitally-focused library regarding cultural origin of contents and to present solidity and a feeling of being dynamic The results could be used in a variety of Industries in tourism, education, Kimchi and building basic infrastructure in entertainment industry. It is also applied to specialized industry by providing cultural contents and it could contribute to activation of Kimchi industry with e-Market and portal site regarding Kimchi. Moreover, it may re-establish the cultural value of Kimchi and provide the infrastructure in Kimchi-related industry such as Kimchi cyber museum, Kimchi Expo, Kimchi town by using educational materials in Education industry fields (regular curriculum and experience tour).

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.95-109
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• 2014

The variety show has expanded as a contemporary genre of popular culture since it first appeared as the Industrial Revolution allowed the public to enjoy their leisure time. In Korea, it has developed itself in similar ways, but it also has been criticized as low-brow. Recently, however, the real variety show has caught great attention as one of the social phenomena and is winning fervent responses from general publics as it is not consumed as a kind of entertainment show but is establishing its form and style as Korean real variety show. On the basis of these features, this paper focuses on the characteristics of real variety show as openness and expandability which can be found in the pre-modern Korea's traditional theatrical performances. Quite different from the cases in the Western culture, the Korean traditional theatrical performances used to set a stage up around the living space, attract audience to willingly approach the stage and participate in the theatre, and let them enjoy their participation. At the same time, however, The perfection of the shows had not been missed. And in comparison with the traditional theatrical performances, the present real variety show reveals the anticipation that the real variety show will not settle down just as a certain format or a genre, but accumulate its abundant contents and continue its new attempts and changes.