• Journal of Digital Contents Society
• /
• v.19 no.8
• /
• pp.1443-1451
• /
• 2018

The genre of digital games is not a fixed and invariable system, but a generative system of revisions and changes. The purpose of this study is to define a concept of alternative genre for digital games. The alternative genre of digital games should be presented in combinations of various genre elements and reflected the genre awareness of the user. In this context, user tags of the game transform the classical genre concept into a family resemblance based categorization and establish a user-driven bottom-up genre system. User tags as the form of alternative genre can spread the 'small' genre through multiplicity of genre elements and strengthen the communicative function of the genre.

• Journal of the Korean Society for Computer Game
• /
• v.31 no.4
• /
• pp.51-59
• /
• 2018

The purpose of this study is to analyze genre differentiation in digital games and examine the changing characteristics of core genre elements. Especially this study focuses on the aspect that how players recognize genre differentiation based on the conceptual blending theory. The evolution of the genre does not end with decline or extinction. The genre keeps being divided into sub-genres through partial use of genre elements. The differentiation of the genre results from the principle of frame confrontation or expansion with a parent genre. Rogue-like games are differentiated from Role-playing games by frame conflict, while Metroidvania games are differentiated from Platform adventure games by frame expansion. In the former case, the core genre elements are independent and easily combined with other genres. For example, the core mechanism of Rogue-like genre like 'perma-death' or 'procedural generation' has a decisive effect on the differentiation of the game experience become an independent genre element. In the latter case of Metroidvania, the core genre elements strongly reveals context dependency and are difficult to use outside the genre convention. The core mechanism of Metroidvania is 'backtracking' in the labyrinth style map, but it could be effective genre element within the specific context like side-scrolling action-platformer.

• English Language & Literature Teaching
• /
• v.15 no.2
• /
• pp.185-207
• /
• 2009

This study investigated the extent of informational text genre appeared in English textbooks at grades six, seven, and nine. Employing content analysis to analyze the literary forms, the researcher identified genre in each reading selection of each English textbook and classified it into six categories - fiction, information, biography, poetry, play, or fantasy. Especially, informational genre was classified further into two subcategories - non-narrative and narrative - in order to investigate the extent of non-narrative informational text only. The text genre was examined by analyzing (a) the number of reading selections representing each genre and (b) the number of words in reading selections devoted to each genre. The most frequent type of genre at grade 6 and 7 was fiction with 94% and 71% respectively, whereas at grade 9 it was devoted to information (51%), followed by fiction (37%). The largest number of words was devoted to fiction with 96% at the sixth grade and 70% at the seventh grade; on the other hand, for grade 9, it was devoted to information (46%), followed by fiction (39%). Although there was variance across different publishers, the informational text genre gained more significance as the grade level increased. In particular, the percentage of reading selections and words devoted to the non-narrative or expository informational genre was overall 4% at grade 6, 17% at grade 7, and 44% at grade 9. The findings demonstrated the need to pay more attention to informational literacy especially in the early grades for the development of balanced genre knowledge.

• The Journal of Korean Institute of Communications and Information Sciences
• /
• v.27 no.8A
• /
• pp.836-845
• /
• 2002

Video summary is one of the tools which can provide the fast and effective browsing for a lengthy video. Video summary consists of many key-frames that could be defined differently depending on the video genre it belongs to. Consequently, the video summary constructed by the uniform manner might lead into inadequate result. Therefore, identifying the video genre is the important first step in generating the meaningful video summary. We propose a new method that can classify the genre of the video data in MPEC compressed bit-stream domain. Since the proposed method operates directly on the compressed bit-stream without decoding the frame, it has merits such as simple calculation and short processing time. In the proposed method, only the visual information is utilized through the spatial-temporal analysis to classify the video genre. Experiments are done for 6 genres of video: Cartoon, commercial, Music Video, News, Sports, and Talk Show. Experimental result shows more than 90% of accuracy in genre classification for the well -structured video data such as Talk Show and Sports.

• The Journal of the Korea Contents Association
• /
• v.17 no.6
• /
• pp.153-168
• /
• 2017

Existing researches on movie genre have been focusing on the relationship between a specific genre and performance of a movie. However, most of films cross into multiple genres and new approach is needed for analyzing a genre network. In this study social network analysis was used to analyze the genre centrality and its relationship with movie performance by developing a genre network, i.e. network among multiple genres constructed via genre co-occurrence pattern in a specific movie. Three index of genre centrality, eigenvector centrality, degree centrality, and bonacich power centrality, were tested for the valued genre network. Results showed that the relationship between genre centrality and movie performance appeared to be inverted U-shaped. This empirical finding is in line with the theory of ambidexterity which emphasizes the balance of exploration and exploitation. In addition, this study can provide practical implications for movie producers, distributors, and theaters that need to develop genre strategies.

• Journal of the Korean BIBLIA Society for library and Information Science
• /
• v.31 no.1
• /
• pp.115-136
• /
• 2020

It is necessary to find a genre classification by reflecting the needs of users since a subject that makes up the highest proportion of books in the school library is fictions in literature and KDC cannot accept user's need to access fiction in school libraries. This study suggested the genre classification for fictions in school libraries through surveying classification of fictions in domestic and foreign libraries, and comparing between classification systems of online/offline bookstores, KDC and DDC. For developing the genre classification system, it is to collect genre terms for fictions, to extract 14 genre headings among them, and to assign the acronym of English genre terms as classification notation. For applying the newly developed genre classification, KDC number of one middle school library was converted as the 3 methods such as combination of KDC, genre term before 800 and only genre terms. This study could contribute to suggest the genre classification of fiction to reflect user needs and to overcome the limitation of hierachical classification in KDC.

• Journal of Popular Narrative
• /
• v.26 no.1
• /
• pp.77-102
• /
• 2020

This article analyzes 'book traveler' stories as a new sub-genre of Korean fantasy web fiction. Formal innovation is revealed as the major motivation of Korean fantasy web fiction's narratives. Furthermore, the imagination of social resistance was presented as the formal devices of the genre. These theses were performed during the analysis of the two characteristics of the genre. In this genre, the main character is the writer or reader of fantasy stories. He moves into a novel he is describing or reading. The original novel, which was entered by the main character, is a space characterized by the custom of a typical fantasy genre. Therefore, the main character actually experiences cliché, typical genre devices and plots. The most important action for the main character here is to 'bend' the custom of the original. Therefore, this genre is in the form of the main motive being the refraction of typology. Meanwhile, the main character is not the central character of the original, but a secondary figure. The central character of the original book is usually from the ruling class, which monopolizes the good resources of society. At this time, the genre creates a subversive situation in which the social underdog goes beyond the social power through plots that overwhelm the central figure. It converts the reader's social desire into a genre device. To summarize, the latest trend in Korean web novel fantasy has captured scenes of renewed Korean genre literature practices. It sensitively reflects the social context of the contemporaries and the reader's desire. Thus, the Korean web novel fantasy has reflected both its internal conditions and its social context.

• Journal of KIISE:Software and Applications
• /
• v.30 no.11
• /
• pp.1062-1071
• /
• 2003

A genre-based classification means classifying documents by the purpose for which they were written, not by the semantics or subject areas. Most genre classifying methods in the past were based on the existing documents categorization algorithms and ineffective for feature selections, resulting in low quality classification results. In this research, we propose a new method for automatic classification of digital documents by genre. The genre classifier we developed uses the deviation statistic between the genre-revealing term frequencies and between the subject-revealing term frequencies within a genre. We collected Web documents to evaluate the proposed genre classification method. The experimental results show that the proposed method outperforms a direct application of a kai-square feature selection and bayesian classifier often used for subject classification by proving an excellent accuracy of about 30 percent.

• Korean journal of communication and information
• /
• v.51
• /
• pp.47-64
• /
• 2010

Korea film market is heterogeneously divided market that comes from competition between Korean movies and foreign imported movies. This research empirically analyzes genre differentiation in Korean film market with three dimensions (film audience preference, production and import, box office hit). The results indicate that, first, audiences who preferring Korean movie preferred 'cultural factor oriented genres', but audiences who preferring foreign movie preferred 'high budget oriented genres'. Second, imported foreign movie genre distribution was little bit different with box office hit genre of foreign movies. Foreign movie was imported not only hit genre (action genre) but also low cost genre (comedy and Drama/melodrama genre), but most of all Korean film was produced in box office hit genres (comedy and Drama/melodrama genre), third, Korean movies hit a box office in comedy and Drama/melodrama genre, but foreign movies hit a box office in action and SF/Fantasy genre. Those results show that Korea movies' genres are concentrated very much in cultural factor oriented genre. Those results can give implication of diversity policy and movie production strategy of Korea film market.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.2
• /
• pp.389-397
• /
• 2023

This study examines how macro-economic conditions, fashion momentum, and inter-genre competition affect movie genre's popularity, thus shaping fashion trends in the feature film market in Korea. Using panel data analysis of genre-specific audience sizes with 6 genre cateories and 132 monthly time points, we found that favorable economic conditions generate the fashion trend in the action/crime genre, while the deterioration of the economic conditions leads to the decline of action/crime genre. The finding implies that economic situations influence cultural consumers' psychological states, which in turn shape the fashion trend in certain direction. Furthermore, we found that the action/crime genre has a greater fashion momentum and its competitive power is stronger than other genres, suggesting that this genre has longer fashion cycle even if other genres rise to the top in their popularity. We argue that such enlengthened fahion cycle and competitive stength of the action/crime genre are associated with its breadth of niche width and audience loyalty. Scholarly and practical implications are discussed.