• English & American cultural studies
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• v.9 no.1
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• pp.71-90
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• 2009

David Harris argues that mass media suppress counter-hegemonic factors in order to reach audience. According to Harris's theory, the success of the film "Tess" depends on its effective adaptation from Thomas Hardy's novel Tess of the D'Urbervilles (1891). Tess (1979), directed by Roman Polansky, casting Nastassia Kinski for Tess, was acclaimed as a professional and commercial success, awarded with various prizes. Hardy's aim at criticizing Victorian English social and moral standard through Tess appears obscure in Polansky's film which focuses on the aesthetics of human body and capital. Polanski's Tess with urban white beauty does not emerge victimized by poverty, which the late twentieth century audience under the capitalist umbrella may abhor. To examine his use of music, sound effect, visual images by means of camera operation—angles, distances, close-ups and frequent movements—light and color, and mythic elements in the film, show Polansky's sharp perception of his contemporary audience's desire and conscientious work upon it.

• Journal of Korea Multimedia Society
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• v.21 no.1
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• pp.51-60
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• 2018

We present a real-time interactive particle-art with human motion based on computer vision techniques. We used computer vision techniques to reduce the number of equipments that required for media art appreciations. We analyze pros and cons of various computer vision methods that can adapted to interactive digital media art. In our system, background subtraction is applied to search an audience. The audience image is changed into particles with grid cells. Optical flow is used to detect the motion of the audience and create particle effects. Also we define a virtual button for interaction. This paper introduces a series of computer vision modules to build the interactive digital media art contents which can be easily configurated with a camera sensor.

• Proceedings of the Korea Information Processing Society Conference
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• 2023.11a
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• pp.949-950
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• 2023

본 연구는 AI 기술을 활용하여 CCTV(Closed-Circuit Television)영상 데이터를 분석하고, 실시간으로 고객을 측정하고 분석하는 방법에 대한 연구이다. 이러한 AI-Dirven Audience Measurement는 마케팅, 이벤트 기획 등에서 응용 가능성을 지니고 있다. 매장에 설치된 CCTV를 통해 데이터를 수집하고 수집된 데이터를 통해 입장한 고객의 성별과 나이를 예측한다. 이에 본 연구를 통해 기업의 마케팅 전략의 최적화 및 이벤트 기획 등 활용할 수 있고 고객의 행동 및 성향 분석을 통해 시설의 구조 및 레이아웃 개선 등을 위한 설계 개선에도 기여할 것으로 기대된다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.79-91
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• 2019

In the entertainment industry, risk management is crucial for securing competitiveness due to the risk of investment. The competitiveness of contents is reinforced when external factors such as industrial environment and internal factors centering on involving mechanism are simultaneously provided. The involving mechanism is a form of cognitive response behavior of the audience and occurs through signal processing of the brain when watching the image contents. The signal processing of the brain related to the contents watching is mainly performed in the working memory area, and in the case of the captivating movie, the information other than the contents transmitted to the audience is blocked to generate a temporary dissociation state. A dissociation state similar to a symptom such as hypnosis or amnesia occurs when the audience's level of involving is high. On the other hand, contents information in which the audience is concentrating his attention is used intensively for constructing future thinking through an episodic buffer while the inflow of external information is relatively blocked or delayed. The spectator's future thinking configuration takes the form of a hypothesis-forming activity and is based on the predictability of the brain. When these hypothesized behaviors correspond to the problem solving simulation of story and predictability which is an evolutionary function of the brain, the audience' s brain is involved in the contents at a high level. In order for the act to be effective, the factors such as the background of the hypothesis, the subject of the hypothesis, the internal information of the person, the type and position and quantity of the hypothesis information, and the hypothesis relevance and type of information are important. Based on these factors, analysis of the Kim Eun Sook Drama 'Goblin' shows that the above elements are operated in a very organic and meaningful way.

• Journal of English Language & Literature
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• v.58 no.2
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• pp.249-277
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• 2012

Eugene O'Neill's one-act play Before Breakfast (1916) depicts a morning scene of a married couple who live in a slovenly flat at Greenwich Village. There is no apparent dramatic action occurring in the play. Instead, the play is full of Mrs. Rowland's incessant complaints about her husband Alfred's loafing around bars with artists friends, neglecting his role as breadwinner. An irony is that every morning she prepares breakfast for the good-for-nothing husband even in the moment of complaining. It is worth noting that Alfred is an 'unseen character' who is never directly observed by the audience but is only described by her wife. Deprived of all chances to speak and present himself on stage, he is kept in the room throughout the play. In contrast, Mrs. Rowland dominates the stage, monopolizing language and action. The audience has to listen to her, judge from her statements, and take her one-sided complaints. The accused husband, with zero chance of showing up and defending himself, has no choice but to be the sinner as the wife intends. Another irony is that the audience's feeling about the situation is quite different from what is expected. The wife's complaints are regarded to be unfair and groundless in the reason that the situation is monopolized by her. In case of the husband, in contrast, the loss of voice and presence stresses the injustice of his dead-lock situation. In other words, the 'absent' quality of Alfred works to evoke the audience's sympathy for himself and subsequently makes his presence recognized, not visually but emotionally, by the audience throughout the play. Discovered in this paradoxical moment where the spectators understand or 'see' the status of the unseen and the devoiced message is successfully conveyed to the listeners, is the theatricality of absence. Adding to the function as theatrical device, the 'unseen character' Alfred works as a device of self-reflection to mirror the author's own life. Alfred, the alter-ego of O'Neill, effectively exorcises the author's life-long feeling of guilty as the unfaithful husband and father in the unhappy first marriage, successfully evoking the audience's sympathy for himself.

• Cross-Cultural Studies
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• v.38
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• pp.29-63
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• 2015

This paper attempts to re-read Tennessee William's A Streetcar Named Desire from a non-Aristotelian perspective, particularly focusing on the audience performativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a final purpose or end (telos) and that is to inspire a catharsis (literally "purification") of pity and fear by means of representation and to give pleasure from experiencing their relief. However, a dramatic theoretician Augusto Boal argues that Aristotelian catharsis is not to get rid of pity and fear through their vehement discharge; rather, the basic function of catharsis is the purging of antisocial elements from the social body and the restoration of order because catharsis occurs when the spectator, terrified by the spectacle of the catastrophe, is purified of his "hamartia" which looks similar to the tragic flaw of the hero in the play. Thus, Boal asserts that Aristotle's coercive system of tragedy manipulates the emotions of the passive spectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimation for a particular political configuration but as the performance of ethical acts-through which all the participants, including not only the actors but also the audience, communicate more actively about practical problems and actively work in order to make sense of themselves, others, and society. Here, the audience is required to restore and reinforce his/her capacity to think and to act; thus, an unquestioning, passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A Streetcar Named Desire involves the audience in the responsibility for what occurs on the stage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purging of pity and fear, but empathy toward the other's pain, beyond pity and fear, to carry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to "re-member" Blanche DuBoi-the iconic Williams victim "dis-membered" by traumatic memories and open wounds and is thus unable to complete her grieving and mourning-as one of us, not as the other. It will be the only way to remember right regarding her tragedy.

• Korean journal of communication and information
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• v.51
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• pp.117-135
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• 2010

The regulation of media concentration which is provided in the German Interstate Treaty on Broadcasting (RStV) is part of the rules forming the "positive broadcasting order" required by German Constitutional Law. This control ensures that the diversity of viewpoints can be articulated to the public. Broadcasting must operate independently from the state and from particular social groups if it is to be a genuine service to the public. One risk of economic competition in the media is a tendency towards the concentration of business enterprises. Moreover, economic competition is no guarantee for journalistic diversity. The aim of balanced diversity in the broadcasting sector can only be pursued by creating conditions under which different voices obtain the chance to be heard in an equitable manner. Within the framework of the meaning of section 26, it shall be assumed that there is a predominant impact on public opinion if the programs attributable to one company reach an annual audience share of 30 percent. The same shall apply if the company reaches an audience share of 25 percent and holds a dominant position in a related media-market or an overall assessment of its activities in television. The restriction of audience shares has limits such as that the audience shares of news programs and education and entertainment programs are pooled. Therefore, there is a vagueness about the productivity of different program branches.

• Journal of Digital Convergence
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• v.18 no.5
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• pp.411-416
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• 2020

This study is an empirical study to see if the existing media effects have an effect on the perception of the audience in the media such as newspapers, TV, movies, etc., and whether the viewing of YouTube, an internet-based new media without gatekeeper, can affect the perception of the audience. For this study, 76 university students were divided into two groups, one group was asked to watch YouTube videos about no-buy campaign of Japanese products, and the other group was asked to watch short films for four weeks each, and then the perception and attitude of the issue were measured and analyzed through a survey. The results of the analysis showed that the audience who watched YouTube videos thought that no-buy campaign was more important than the audience who did not watch YouTube videos, and that they would participate more actively in no-buy campaign. The results of this study can be meaningful in that it confirmed the effects of the agenda setting effect and the priming effect of YouTube. It is expected that the theory of the media effect of YouTube will be established as the study on the audience effect in various fields such as politics, economy, society, culture of YouTube continues.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.93-106
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• 2019

Persona is an actor's external ego constructed by playing various roles, and his/her another self-portrait in the eyes of the audience. This study was conducted to analyze persona identity containing core persona(CP) and to gain implications for the growth strategy of the actress Son Ye-jin called "melo queen" by verifying consistency between the CP and audience responses to her starring works of the past. According to the related theories and models, the persona was firstly set as image, visuality, personality and consistency, and it was used to extract and sort descriptive texts about Son related news articles in the last 5 years of the six major Korean newspapers using the content analysis method. After that, we analyzed the number of viewers of her movies and the audience share of her dramas by genre. As a result, Son's persona components were found to have a proportion for 54.2% images (34.0% for melo and romance images, 20.2% for non-melo and romance images), 25.6% for visibility, 13.8% for consistency, and 6.4% for personality. Her CP was derived from a melo and romance image. Comparing this with the audience reaction, the melo romance genre dominated and showed consistency in the drama, but in the case of the film, the non-melo romance was dominant and did not match each other. The results were attributed to a wide gap between dramas and movies in terms of key viewers, box office factors, degree of genre hybridity and experimentality. Therefore, Son should actively use her CP in the drama and challenge the various roles in order to expand her persona spectrum in the film.

• Journal of Service Research and Studies
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• v.13 no.4
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• pp.47-69
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• 2023

The main purpose of this study is to examine the mediating effects of performance satisfaction and audience loyalty through the motivation and community satisfaction of non-profit performance attendees in the local community. Motivations were examined by distinguishing between intrinsic and extrinsic factors to understand the profound desires of the audience. A survey was conducted targeting attendees who had experienced non-profit performances in the Jeju area over the past year to gather data. Ultimately, the survey responses from 363 participants were used as the basis for analysis. The results of the analysis indicated that higher levels of intrinsic and extrinsic motivations generally led to greater satisfaction and loyalty towards performances (H1, H2, H3). However, extrinsic motivation did not directly influence loyalty (H4). Nevertheless, both types of motivations were found to positively influence loyalty through performance satisfaction (H5, H8). While satisfaction with performances did not have a direct impact on community satisfaction (H6), audience loyalty was found to have a positive influence on community satisfaction (H7). Regarding motivations, performance satisfaction did not mediate the relationship between motivations and community satisfaction (H9). In the case of audience loyalty, intrinsic motivation showed mediating effects, while extrinsic motivation did not (H10). The process of motivation-satisfaction-loyalty-community satisfaction demonstrated a sequential pathway (H11). In conclusion, if local residents show interest and participate in non-profit performances, they develop a positive perception of the respective community. Therefore, performances provided at the local level should be recognized as crucial elements for the development of the community.