• International journal of advanced smart convergence
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• v.11 no.2
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• pp.118-127
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• 2022

Barrage language is a new media language based on Internet video. It is a representative expression of the Internet environment regardless of its format and content. As a unique movie viewing characteristic provided by the barrage function, the timeliness of feedback, entertainment, and interactivity of the content are excellent. Characteristic. Barrage language itself is closely related not only to the value of linguistic research, but also to the spread of the Internet in the Internet environment. Based on the current situation of Chinese video sites, this thesis explores how Barrage is an organic cycle of culture and consumption in a specific platform and group, and analyzes its propagation methods and effects. By analyzing the characteristics of content production patterns unique to the barrage culture, implications and reference values for production activities of other cultures, the effect of popularization on viewers and the production and consumption of the 'barrage' culture of the industry is studied, and furthermore, the 'barrage' culture is It was designed to be a reference for the development of the platform, internet culture, and animation industry culture.

• Archives of design research
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• v.15 no.2
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• pp.59-70
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• 2002

The psychological system of human beings has gone through changes from material satisfaction to spiritual satisfaction. That is, $\ulcorner$From real goods to feel goods$\lrcorner$: much attention is not paid to physical consumption of real products but to consumption of time containing information value such as services capable of enriching and entertaining life. Entertainment is a cultural industry based on mass consumption culture. In this context, this research is designed to look into the entertainment tendency of the industrial areas and to take a look at various forms of attraction serving as the factor of absorption to users. The study indicates that the moderns impose much value on invisible goods such as experience. And the most popularized method is to appeal to clients for sensory interaction by presenting the experience of joy. Entertainment in a true sense is generated on the basis of creativity, which is a product of intuition and efforts directed toward the understanding of emotional ties with the general public characterized by uncertainty.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.34-43
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• 2014

Young Chinese audience can select and watch TV dramas, movies and entertainment programs from many different nations, such as Korea, America, Japan, England, Thailand, India, and so on, through multiple channels, such as online video sites - iQiyi, Youku, LeTV, PPTV, and many others - which were induced by changes in media environment. Various genres of Korean popular culture have recently become popular in China, but this phenomenon differs from the early Korean Wave. During the earlier period (from 1997 to the early 2000s) of the Korean Wave, soap operas were popular among middle-aged women, but now various other genres, such as K-pop, entertainment programs, etc., are also popular in China. The purpose of this study is to explore how young Chinese audiences use foreign pop culture, including their preferred genres, reasons for preferring these genres, and the relationship between the preferred pop culture and national image in Korean, American, and Japanese pop culture were analyzed. According to the study results, similarities and differences between preferred genres and the reasons for preferring these genres, and also a close correlation between preferred pop culture and national image were found. These findings will be fundamental for supporting the continual development of the Korean Wave in China.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.71-86
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• 2021

The purpose of this study is to reveal the significance of musicals and find a way to utilize them in Korean language culture classes for foreigners. Korean language education aims to improve communication skills, and cultural education is necessary to help students understand not only the language but also the social background and context of the language. Accordingly, the author of this study has put together a lesson plan for Korean culture incorporating musicals, a topic that has been heretofore disregarded in Korean language education. Musicals are an appealing art medium for Korean language learners, as they provide striking visuals centered around distinct narrative structures and music. The musical "Swag Age: Shout out Joseon!," which this study focuses on, provides particularly suitable content, as it deals with social issues that are relevant even in contemporary Korean society and includes sijo (poetry), which can be used to teach traditional Korean literature. Based on the above characteristics, the author of this study outlines a Korean culture lesson plan teaching sijo through the musical "Swag Age: Shout out Joseon!" The class will be for learners of intermediate level and above, and consists of 4 sessions: 1) Understanding the overall plot of the musical, 2) Learning about Korean sijo, 3) Writing sijo based on your own life, and 4) Presenting your own sijo. This culture class is significant in that it goes beyond simply learning about sijo and enables students to internalize the meaning of and actively enjoy sijo by writing their own versions. In addition, it is expected to be a compelling class that, on top of its educational value, introduces and allows students to experience a wider range of Korean popular culture by adding the musical genre to the common repertoire of movies, dramas, plays, and pop songs often covered in Korean culture classes.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.41-54
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• 2019

Today, companies are supporting filed of culture and art forms as part of its social contribution activities to cultural support. Also, improvement of commercial interests and profit structure for enhancing the image of support taking shape at the same time, such as a strategic approach. Culture of companies in building confidence and enhance its operational activity is the image of the positive effect that charitable point of view social contribution projects and strategic point of view of culture support activity. Therefore, corporate culture in the study formed in supporting a variety of factors recognized the importance, culture support for business activity is the image of the factors which are behavior, social responsibility actions, corporate contributions to analyze the impact. Then the company's corporate image formed by supporting a culture and see if any influence on customer loyalty to carry out an empirical study. The conclusions of this study are as follows: first of all, corporate culture support activity is affecting contributions to corporate social responsibility actions and behavior of the corporate image, and image formed to consumers has shown to have a positive impact on customer loyalty. Second, corporate image formed by supporting a culture wac shown to have a positive impact on customer loyalty.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.818-823
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• 2006

본 연구에서는 디지털 콘텐츠와 물리적 미디어가 유기적으로 결합할 수 있는 가능성을 모색하고자, 입출력 일체화 개체인 'I/O 셀(Cell)'과 그 집합체인 '텐저블 게임 콘솔(Tangible Game Console)'을 개발하였다. I/O 셀은 여러 종류의 센서와 액츄에이터가 하나의 물리적 노드 내에 통합되어 있는 개체로, 이 I/O 셀 다수를 집적하면 다양한 크기와 용도의 엔터테인먼트 미디어를 구성하는 것이 가능하다. 그 중 하나로 개발된 텐저블 게임 콘솔은 일종의 센서-액츄에이터 집합체로 셀들 사이의 연계를 통해 다양한 물리적 정보를 인식하고 표현할 수 있다. 텐저블 게임 콘솔은 기존 게임 콘텐츠의 주요한 표현 수단이었던 이미지와 텍스트 정보 대신에 물리적 정보를 통해 게임 콘텐츠를 구성하며, 조작대상과 조작수단이 일체화되어 있고, 또한 음악, 퍼즐, 액션 등 다양한 장르의 게임 콘텐츠가 적용 가능하다는 특징을 가지고 있다. 텐저블 게임 콘솔에서는 불, 바람, 물, 생명체 등의 물리적 현상을 형상/움직임/소리/빛 등을 통해 재현하며, 사용자는 이를 때리기/바람불기/흔들기/기울이기 등의 직접적인 조작을 통해 체험할 수 있다. 또한 물리적인 상호작용 과정이 일정한 게임 규칙을 가지고 구성되어 있어 지속성 있는 놀이 경험을 제공한다. 본 연구에서는 텐저블 게임 콘솔의 콘텐츠로 음악, 액션, 대전게임 등을 개발하였으며, 이 콘텐츠들의 놀이경험을 평가함으로써, 텐저블 게임 콘솔의 발전 가능성을 확인하였다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.31-43
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• 2021

The talk of today's era is innovation and convergence. Convergence can be seen as innovation because convergence is born through innovation and innovation is made through convergence. Crossover and collaboration (collectively referred to as "crossover") which are used as a concept of convergence in popular culture means the combination and integration of different genres or fields, and has recently been used in various fields such as movies and music. The use of crossover helps to break boundaries with other fields and create new works through free and diverse attempts. Thus, in this study, the convergence of popular culture, or crossover, is analyzed in conjunction with the Korean horror genre. Currently, Korean horror movies were popular from the 1990s to the early 2000s, but now only a few are coming out due to a series of poor box office performances. However, according to this study, crossover attempts have already begun in Korean horror films, and traces of crossover have been found in several successful films. In this study, we will further apply a collaboration of characters such as "Avengers" to present a new direction for Korean horror movies.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.989-995
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• 2009

Smart Dining Table is an ongoing project in our Interaction Design Lab. It is a table top display designed to facilitate dining process. Smart Dining Table uses touchable interface to interact with users, providing a new, interesting and efficient experience in dining process. In GuangZhou, the south city of China, Yam Cha is a traditional and local way of entertainment in which normally elders gather together with friends or relatives to have tea and snack, and most importantly, to chat. Yam Cha has a long history in China, and Guangzhou has developed its own unique "Yam Cha" culture. In this paper, we discuss about previous research we did on Yam Cha in GuangZhou, and the approach we propose to manage and analyze issues related to dining table to help designing specific version of Smart Dining Table which can fit right into the Yam Cha process and cultural environment.

• International Journal of Contents
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• v.7 no.3
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• pp.29-37
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• 2011

This research discusses the unique characteristics of Japanese video game from the cultural viewpoint of Japan's traditional play. It starts with the possibility that Japanese video game can share the characteristics of traditional Japanese play. Accordingly, this research first considers the connection between play and video game for a theoretical background, by comparing their theoretical definitions and characteristics. Particularly, it shows the research direction from the viewpoint of Ludology that approaches video game from the aspect of play. Second, the characteristics of traditional Japanese play are examined in connection with Japan's inherent animism culture. Based on such characteristics, the common characteristics and backgrounds of Japanese video game and traditional Japanese play are discussed from the 'spatial' aspect of game, from the 'identity' aspect of game characters, and from the 'motive' behind playing game.

• English & American cultural studies
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• v.14 no.1
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• pp.241-267
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• 2014

Media representations of race have attempted to contain blackness by packaging and commodifying it to reflect and affect preconceptions and prejudices of dominant culture. From the early beginnings of blackface minstrelsy as entertainment form in the $19^{th}$ century, representations of African Americans in popular culture and mainstream media have been closely associated with the notion of performance. The performative nature of racial representations is situated within the discursive struggle over what it meant to be Black, or what it meant to be labeled and portrayed as Black in American culture. This essay discusses four films that contain performances of "blackness" that assemble race and gender in complex configurations: Bamboozled (Spike Lee, 2000), Girl 6 (Spike Lee, 1996), Big Momma's House (Raja Gosnell, 2000), and White Chicks (Keenen Ivory Wayans, 2004). I explore how the performative nature of "blackness" is emphasized, thematized, and problematized in these films through the physicality of corporeal figures that embody the close link between race and gender identities. Once we are cognizant of the fact that race and gender are fabricated cultural constructs and performative acts, we can recognize that notions of "blackness" and "femininity" are not naturalized or essentialist, but open to recontextualization and revision.