• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.85-98
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• 2021

The present thesis is a study about a character actor's characterization from the concept of 'star persona'. Conducted in 2020, this is a follow-up study about a personality actor's characterization. Lee Sung-min was selected due to his wide acting spectrum among domestic actors and his brilliant expression of differing characters as a character actor. The study discusses characterization methods for character actors on the basis of his role of high-ranking North Korean bureaucrat 'Ri Myung-un' in the film 'The Spy Gone North'. Stanislavski claimed that character building or characterization was the pinnacle of the acting art. However, such an expression of personality requires hard work and devotion from an actor. The actor Lee Sung-min practiced the North Korean dialect in order to act the role, and added the way the elite speak in North Korea to this dialect. He achieves a style of acting that raises tensions within the drama by spitting out lines in one breath and by making the audience fixate their gaze within character solo shots for which the character's emotions and lines serve as the core, with the purpose of maximizing dramatic tension and situational reality. Continuity and angle also serve extremely important roles in terms of expressing a character's personality development, affect, and emotions. The present thesis discussed the character development methods for a character actor's role of 'Ri Myung-un' in the film 'The Spy Gone North'.

• Journal of Digital Convergence
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• v.11 no.2
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• pp.347-354
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• 2013

This study has attempted to figure out differences between emotional labor and psychosocial stress by occupation-related variables against hairdressing industry workers. For this, a total of 191 hairdressers in Busan were examined using emotional labor scale and psychosocial stress scale. The survey was conducted from July 1 to 30, 2011 using t-test, ANOVA and Scheffe's test. Then, the following results were obtained: First, according to analysis on difference in emotional labor by occupation-related variables, difference was found by monthly income in 'control of emotion' category. In terms of 'emotional dissonance,' difference was observed by job title and monthly income. In 'positive expression of emotions,' difference was detected by monthly income and number of off-days per month. Second, according to analysis on difference in psychosocial stress by occupation-related variables, differences were found by age, job title, education, work experience, monthly income, working hours and number of off-days per month. According to the analysis above, monthly income is related with both emotional labor and psychosocial stress among occupation-related variables.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Science of Emotion and Sensibility
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• v.24 no.3
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• pp.71-80
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• 2021

Previous studies using facial expressions have revealed valence and arousal as two core dimensions of affective space. However, it remains unknown if the two dimensional structure is consistent across ages. This study investigated affective dimensions using six facial expressions (angry, disgusted, fearful, happy, neutral, and sad) at three ages (young, middle-aged, and old). Several studies previously required participants to directly rate subjective similarity between facial expression pairs. In this study, we collected indirect measures by asking participants to decide if a pair of two stimuli conveyed the same emotions. Multidimensional scaling showed that "angry-disgusted" and "sad-disgusted" pairs are similar at all three ages. In addition, "angry-sad," "angry-neutral," "neutral-sad," and "disgusted-fearful" pairs were similar at old age. When two faces in a pair reflect the same emotion, "sad" was the most inaccurate in old age, suggesting that the ability to recognize "sad" decreases with old age. This study suggested that the general two-core dimension structure is robust across all age groups with the exception of specific emotions.

• Science of Emotion and Sensibility
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• v.25 no.3
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• pp.127-134
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• 2022

This study sought to identify the voice user interface (VUI) design parameters that evoked positive user emotions. Six VUI design parameters that could affect emotional user satisfaction were considered. The moderating effects of user gender and the design parameters were analyzed to determine the appropriate conditions for user satisfaction when interacting with the VUI. An interactive VUI system that could modify the six parameters was implemented using the Wizard of OZ experimental method. User emotions were assessed from the users' facial expression data, which was then converted into a valence score. The frequency analysis and chi-square test found that there were statistically significant moderating gender and AI effects. These results implied that it is beneficial to consider the users' gender when designing voice-based interactions. Adult/male/high-tone voices for males and adult/female/mid-tone voices for females are recommended as general guidelines for future VUI designs. Future analyses that consider various human factors will be able to more delicately assess human-AI interactions from a UX perspective.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.40 no.1
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• pp.59-73
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• 2003

As a means of overcoming the linguistic barrier between different languages in the Internet, a new sign-language communication system with CG animation techniques has been developed and proposed. In the system, the joint angles of the arms and the hands corresponding to the gesture as a non-verbal communication tool have been considered. The emotional expression, however, could as play also an important role in communicating each other. Especially, a comic expression is more efficient than real facial expression, and the movements of the cheeks and the jaws are more important AU's than those of the eyebrow, eye, mouth etc. Therefore, in this paper, we designed a 3D emotion editor using 2D model, and we extract AU's (called as PAU, here) which play a principal function in expressing emotions. We also proposed a method of generating the universal emotional expression with Avatar models which have different vertex structures. Here, we employed a method of dynamically adjusting the AU movements according to emotional intensities. The proposed system is implemented with Visual C＋＋ and Open Inventor on windows platforms. Experimental results show a possibility that the system could be used as a non-verbal communication means to overcome the linguistic barrier.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.408-416
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• 2017

This researcher looked at the characteristics of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques focused on body expressions and sought to utilize it as training method for modern actors. 'Body postponement as a symbol' is a key characteristic of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, and each facial expression, gesture, and movement performed by an actor has a specific meaning. Therefore, the study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" has been treated as a major study mainly in the non-realistic expression style or the body-centered acting theory. Therefore, a study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques was mainly dealt with as a major research subject in the nonrealistic expression style or body-centered acting theory. This study, on the other hand, emphasized the importance of research on the utilization plan of actor training, which can be usually used in realistic plays as well as non-realistic plays. According to psychologists such as Damasio and Eckman, internal impulses can also be triggered through expressions and actions associated with emotions. In addition, not only acting through the actor's inner impulse, but also expression of the actor's faithful external emotion can trigger the emotion of the audience. Such a case can be a psychological basis that "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, which defines rasa and expresses it physically, can be used as a methodology to enhance inner truth. Therefore, the study on the actor training utilizing ing "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" can be applied as an effective approach in the study of contemporary acting theory which intends to integrate inner impulse and external expression.

• Journal of the Korean Institute of Intelligent Systems
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• v.19 no.4
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• pp.562-567
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• 2009

As a key mechanism of the human emotion interaction, Facial Expression is a powerful tools in HRI(Human Robot Interface) such as Human Computer Interface. By using a facial expression, we can bring out various reaction correspond to emotional state of user in HCI(Human Computer Interaction). Also it can infer that suitable services to supply user from service agents such as intelligent robot. In this article, We addresses the issue of expressive face modeling using an advanced active appearance model for facial emotion recognition. We consider the six universal emotional categories that are defined by Ekman. In human face, emotions are most widely represented with eyes and mouth expression. If we want to recognize the human's emotion from this facial image, we need to extract feature points such as Action Unit(AU) of Ekman. Active Appearance Model (AAM) is one of the commonly used methods for facial feature extraction and it can be applied to construct AU. Regarding the traditional AAM depends on the setting of the initial parameters of the model and this paper introduces a facial emotion recognizing method based on which is combined Advanced AAM with Bayesian Network. Firstly, we obtain the reconstructive parameters of the new gray-scale image by sample-based learning and use them to reconstruct the shape and texture of the new image and calculate the initial parameters of the AAM by the reconstructed facial model. Then reduce the distance error between the model and the target contour by adjusting the parameters of the model. Finally get the model which is matched with the facial feature outline after several iterations and use them to recognize the facial emotion by using Bayesian Network.

• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.88-99
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• 2015

As architecture is designed for humans to live in based on practicality, what one experiences within such spaces is important. Such experiences are not felt only by appreciating the structure's appearance, but involve physical presence inside the space and the deepening of the individuals relationship with the space through the body's sensory perception. However, in modern times there is a much greater tendency to rely on superficial experiences by way of images or tastes rather than more meaningful human participation, while the standardization of the object universe is gradually erasing the uniqueness of experience. In light of this, the restoration of emotional and sensory spatial experiences through the design of sensory spaces can be regarded as an important task in modern spatial design. This study contemplated the meaning of emotional spatial experiences through a phenomenological understanding of such experiences, and analyzed the meaning and main factors in the creation of spatial atmosphere as a phenomenon of spatial experience. In addition, we highlighted the fact that spatial atmosphere can be applied as space design methodology by devising methods of expression through an analysis of actual examples. O.F. Bollnow's space theory and the spatial design of Peter Zumthor were the subjects of this analysis. The spatial atmosphere analyzed using Bullnow's theory is a phenomenon in which both the human and space are connected and the ensuing spatial experience embodies the emotions of both. This spatial atmosphere can be understood as a condition in which the human and space are fused together. Furthermore, coincidental/accidental meeting, mediums using potential objects, reorganization of the center due to autonomous boundaries, as well as the three temporalities were identified as the main factors in the creation of spatial atmosphere. Based on this analysis, through the identification of methods of expression for spatial atmosphere in Zumthor's spaces.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.229-270
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• 2014

Ostermeier's Hamlet has no particular contemporary reinterpretation. Alternately devoting to show retrospect in illusion and existence through revenging actions. However, Shakespeare's metaphorical and implicative language is dissipated and the style of the play is not an illusive space-time, but a tragic theatrical production that uses rough language to express the depth of the story. The Perfomance of Hamlet is a sensuous jumble up of a diverse range of mass media. The double roles that the actors carry out give an affect of isolation between the audience and the play itself showing both empathy and liberty. Ostermeier's Hamlet distinctively shows a post-modern performance through the prominent elements of dirt, the use of mixed genre, theatric emphasis, making an image and the fulfillment of acting. Nonetheless, Ostermeier's performance stays off the point on the breakup strategy of the post-modern drama without suspending the narrative of Shakespeare's Hamlet. Besides aiming to show a performance centered by the imagery of physical expression, his performance shows New Realism in the 1960's, showing everyday life. Ostermeier thinks, that theatre helps give contemporary people an accurate reality check in the constant unstable periods of time. Therefore, Hamlet shows post-modern physical expression and outspoken dramaturgy using the effects of mass media in New Realism without breaking up realistic narration. With being the aberration of the Castle Helsingor, the main character Hamlet, expresses lunacy and can be considered as metaphor for young adults whom are broken down and isolated from the economic system. He is a substitute for those who experience agony, anger, torment, etc. and other suppressed emotions in everyday life. With the method of direction in the portrayal of Hamlet show signs of succession in the abundant popularization of the classics by communicating with the audience by following the trend of modern mass media and audio-visual perception; emphasizing the point of the philosophical topic 'life and death,' 'life and theatre,' and 'illusion and reality.'