• 한국콘텐츠학회논문지
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• 제14권9호
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• pp.85-92
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• 2014

본 논문은 <도가니>가 어떠한 재현전략으로 대중성을 확보하는지에 관하여 짚어낸다. <도가니>의 '집단적 기억의 환기', '고전적인 내러티브', '영화의 자기반영성'은 관객을 분노하게 하여 사이버 공론장으로 모이게 했으며, 더 나아가 '참여적인 관객성'을 가능하게 했던 중요한 요인들이다. 그런데 관객의 분노를 극대화시킬 수 있었던 이 영화의 장치들은 윤리적 논란을 불러일으킨다. 본 논문은 <도가니>가 다양한 재현전략을 통해 '참여적인 관객성'을 이끌어 낼 수 있었던 원인분석을 목표로 한다.

• 한국콘텐츠학회논문지
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• 제16권4호
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• pp.241-249
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• 2016

본 논문은 우리사회의 성매매문제를 다루고 있는 한국 독립다큐멘터리 <언니>에 초점을 맞추고 있다. <언니>를 둘러싸고 이루어질 수 있는 다양한 담론 중 '영화의 정치성', '투쟁의 도구로서 한국 독립다큐멘터리', '영화의 사회적 영향력', '성매매문제와 성매매여성인권', '반성매매와 성노동 진영의 논쟁', '<언니>의 반성매매를 위한 내러티브 구성' 등을 중심으로 살펴본다. 그리고 마지막으로 대학생 202명을 대상으로 설문조사를 실시하여 <언니>를 통한 '관객의 인식변화'와 '참여적인 관객성'의 가능성에 관해 진단한다.

• Journal of Sport and Applied Science
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• 제4권4호
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• pp.27-32
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• 2020

Purpose: This study sought to explore the effects of air pollution on professional sports in South Korea. Research design, data, and methodology: The dependent variable, the number of attendances, was comprised of 2013-2017 K-league, 2015-2017 KBO, 2014-2017 KBL regular season games, resulting in 1,063, 2,121, 810 individual match-level observations, respectively. With the actual data collected from each place across the country, we created a categorical variable which identify the air quality index divided into four categories by K-eco (i.e., good, moderate, unhealthy, hazardous). To analyze data, ANOVA was employed. Results: First, there was a significant group effect on K-league attendance. Second, there was a significant group effect of KBO attendance. Lastly, there was a significant group effect on KBL attendance. Conclusions: Summary of above results showed that each professional sport leagues' attendance was significantly different depending on the levels of air pollution. Implications were also discussed. Keywords: air pollution, sport spectatorship, professional sports.

• 영어영문학
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• 제54권4호
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• pp.461-482
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• 2008

The science fiction was established as a typical genre of the American popular culture by the monumental releases of two series: Star Wars and Star Trek. Based on the popular science discourse, these two series have functioned as an ideological apparatus for re-appropriating Frontierism which reflects the essential values of American myth. Arguably, the SF genre owes its success mainly to the increasing popularity of science during the 1960s and 1970s, which was well represented in the space project of NASA. This power of popular science, however, tended to weaken in the 1990s as the public interest in NASA's project gradually decreased. "Deep Space Homer," an episode of The Simpson's fifth season, reflects the changing attitude of the American audience toward the new American hero created in the SF series of popular science in the previous popular culture.

• 만화애니메이션 연구
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• 통권21호
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• pp.1-17
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• 2010

애니메이션이 고부가가치를 창출하는 콘텐츠산업으로 인식되면서, 애니메이션의 성공여부를 결정짓는 것이 스토리만이 아니라 캐릭터의 중요성이란 것에 대한 연구가 점차 확장되고 있다. 본 연구의 목적은 전 세계적으로 오랫동안 꾸준한 인기를 얻고 있는 <심슨가족>의 애니메이션 캐릭터를 관객성 이론을 토대로 충성도 높고 상호작용하는 관객 형성 요건을 살펴본 후 향후, 제작될 국내 TV 시리즈 애니메이션의 개선방향을 제시하는데 있다. 이에 구체적으로 애니메이션 캐릭터의 개념, 이데올로기와 애니메이션 캐릭터와의 관계, 사회현상과 조형성의 상호작용한 변화에 대해 알아보고, 관객성 이론을 토대로 <심슨가족>캐릭터가 어떻게 관객형성 요건을 지니고 있는지 분석하여 정리한다. 또한 국내에도 애니메이션 캐릭터를 상품으로 활용한 사례가 있으나 좀 더 다양한 범위로의 캐릭터 생명력을 확보하고 있는지 알아보기 위해 <심슨가족> 캐릭터의 활용범위를 조사한다. 결론으로, TV 시리즈 애니메이션은 극장용 애니메이션과 달리 쉽게 관객에게 오랫동안 반복적으로 메시지를 전달할 수 있는 특성이 있는데, 국내 TV 시리즈 애니메이션은 캐릭터 그 자체로써는 개성이 뚜렷하나, 그 캐릭터를 뒷받침해주는 매번 새롭고, 창의적이고 탄탄한 구성을 가진 스토리 부재와 <심슨가족> 캐릭터처럼 관객에게 동질감을 느끼게 하는 캐릭터성이 부족하다는 문제점을 인식하였다. 애니메이션은 시청자 즉, 관객의 공감대를 이끌어내는 것이 중요하므로, 이를 위해서는 사회적 담론 내용이 잘 융합된 캐릭터가 매우 중요한 요소로서 커다란 영향을 준다. 그러므로 국내의 애니메이션이 단명이 아닌 장수를 하기 위해서는 애니메이션의 캐릭터에 대하여 좀 더 심층적이고 전문적인 연구가 필요하다.

• 한국게임학회 논문지
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• 제22권1호
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• pp.109-118
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• 2022

본 연구는 이용과 충족 이론을 적용하여 e스포츠 직접관람자의 관람동기, 관람만족, 행동의도의 주요 변수 간 관계를 실증 분석하였다. 탐색적 요인분석 결과 기존의 주요 관람만족 동기 중 8개의 스포츠동기, 3개의 팬동기와 한 개의 관람촉진 동기가 e스포츠의 직접관람동기로 확인되었다. 그리고 직접관람자의 관람동기 중 오락, 팀애착, 경기기술, 선수매력, 심미성 동기요인은 관람만족에 유의미한 영향을 미치고, 행동의도에는 사회교류와 오락요인이 영향을 미친다는 것을 확인하였다.

• 미술이론과 현장
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• 제10호
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• pp.25-46
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• 2010

Street art operates within an already given visual order: the visuality of the modern city in which the regimentation of the image has become fully adaptive to-what Fredric Jameson termed-the logic of late capitalism. What is the relationship between street art and the hegemonic forms of the image dictated by the "city's rulers"? Does street art evoke an alternative kind of spectatorship? Can the unsolicited visual intervention in the life of the city open up an "optics" that resists the reifying patterns of the contemporary gaze? This paper follows Baudrillard's pioneering analysis of graffiti, arguing that the visuality of a certain kind of street images carries an important potential of challenging the hegemonic manner in which the contemporary image has come to dominate the field of vision.

• 한국의류산업학회지
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• 제21권4호
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• pp.379-389
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• 2019

Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.

• 영어영문학
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• 제55권3호
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• pp.415-427
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• 2009

Woolf s preoccupation with the interplay between gender, commercialism, and the modern city is exposed in higher relief by her feminist remapping of the city through a discourse of fl nerie, which is epitomized in her singular urban travelogues such as Street Haunting and The London Scene essays. A fanatical London-adventurer herself, she assumes the persona of the fl neuse in exploring the street of modern London and especially the public sphere of the marketplace, as represented in Oxford Street Tide. Living and working in the quarter of Bloomsbury, in close proximity to the capital s famous sites of tourism, entertainment, and mass consumption, Woolf was placed at the heart of urban spectacle. In spite of the lack of critical analysis of this high-profile writer s interest in such quotidian matters as shopping, fashion and appearance, which would be informed by a hierarchy of value within literary criticism, it seems that they are inextricably intertwined with her quest into more serious-minded topics that revolve around the twin pillars of her literary project: feminism and modernism. Her essays, in particular, suggest this point in one way or another, mirroring her extraordinary susceptibility to such concerns. For Woolf, street sauntering is synonymous with an act of creative mobility, by which she plays with the notion of shifting identities, rediscovers the urban rarities and splendors, and ultimately pins them down in her literary output. By adopting the identity of a masterly rambler/observer/explorer with an omnipotent gaze, she firmly anchors herself as an active interpreter of urban modernity and viewer of its spectacle. She thus challenges the idea of public space as a male domain, which is central to the classic androcentric discourse of loitering, spectatorship and urban modernity.

• 한국연극학
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• 제49호
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• pp.75-100
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• 2013

An on-going creative process was the major principle of Kantor's artistic endeavors. Kantor's emphasis on process grew out of his frustration with the experience of creation being isolated from the audience in the present time, during the moments of encounter. At the same time, however, Kantor was always aware of the fact that the first night of each and every performance that he made was the last point of his creative intervention. Despite being performed live in the present time, Kantor saw theatre essentially as an end product. This does not mean that Kantor abandoned the concept of on-going process, for process was for the artist a means to reject the idea of a finished work of art and to denounce the feeling of satisfaction derived from the traditional denouement in representational theatre. For him, theatre that dominated his time isolated the audience from the art work and the artist, and from this perspective his continual emphasis on process should be understood as an aesthetic principle in order to open up and expand the dimension of art into the realm of the spectator so that the experiences of both the artist and spectator may coexist. The heaviest barrier that separated the artist and his work from its audience was the creative structure that governed Western art. In theatre it was the dramatic structure that was the main object of his series of severe challenges. Not only did it fail to represent reality but it distorted reality, creating nothing but artificial illusion. Under this condition, all that was permitted to the audience was mirages. However, Kantor never completely discarded illusion from his theatre. The point for him was always to created a circumstance where the illusory reality of drama comes to exist within the dimensions of our reality. It was Kantor's belief that instead of a total denial of illusion, his theatre should strategically accommodate illusion which comes from reality. And, the aim of Kantor's theatrical experiments was to invite the audience into this ambience and transform the experience of his audience into a much more participatory one. This paper traces the ways in which Kantor transgressed the dominating conventions of representational, literary theatre, and how such attempts induced an alternative mode of spectatorship. The study will begin from an investigation into Kantor's attitude towards illusion and reality, and then move onto a closer inspection of how he spatially and dramaturgically materialized his concepts on stage, giving special focus on Wielopole, Wielopole.