• International journal of advanced smart convergence
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• v.10 no.4
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• pp.1-13
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• 2021

In today's media environment, TV programmers and advertisers must strive ever harder to attract the attention of audiences. Yet what may be even more crucial is engaging audiences in conversations on social media and nourishing stronger relationships. To provide insights into how to improve audience experiences through social media television coviewing (STVC) behaviors, this study investigates audience motivations for using social networking sites (SNSs) while watching sports program (i.e., social media television coviewing-STVC) and examines relationships between identified motivations and key audience engagement outcomes. The results reveal four motivations for STVC behaviors: sports-related interaction seeking, information seeking, convenience seeking, and socializing. Further, results reveal that sports-related interaction seeking, information seeking, and socializing motivations are significant predictors of satisfaction, investment, and commitment to the program. Audience engagement outcomes are not predicted, however, by convenience seeking or by variables pertaining to SNS-use regarding STVC behaviors.

• Journal of Korea Multimedia Society
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• v.25 no.2
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• pp.382-389
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• 2022

In China, E-commerce live broadcast has emerged as the most popular and innovative online shopping form for today's consumers, and its "real-time interactive" feature can compensate for the communication delays of general online shopping. Based on the author's previous research it has been demonstrated that, in the E-commerce live broadcast environment, Internet Word of Mouth (IWOM) has become an important reference for consumers when making purchases. In this paper, we reconstructed the "IWOM-Purchase Intentions" model and use interaction (Auchor-Audience and Audience-Audience) as a mediating variable to empirically investigate the impact of IWOM on purchase intentions in E-commerce live broadcast. The data were collected through a questionnaire survey of individuals who had experience in E-commerce live broadcast and 250 valid data were obtained and analyzed by SPSS21.0. The results show that: the interaction (Auchor-Audience) acts as a mediator between IWOM (strength of relationship; word-of-mouth quality and word-of-mouth timeliness) and purchase intention; And the interaction (Audience-Audience) acts as a mediator between word-of-mouth timeliness on purchase intention, but has no significant mediation on the impact on the strength of relationship and word-of-mouth quality to purchase intention. On this basis, recommendations are made for the implementation of IWOM marketing strategies for E-commerce live broadcast platforms and anchors.

• Journal of Intelligence and Information Systems
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• v.18 no.1
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• pp.39-57
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• 2012

Recently, due to the introduction of high-tech equipment in interactive exhibits, many people's attention has been concentrated on Interactive exhibits that can double the exhibition effect through the interaction with the audience. In addition, it is also possible to measure a variety of audience reaction in the interactive exhibition. Among various audience reactions, this research uses the change of the facial features that can be collected in an interactive exhibition space. This research develops an artificial neural network-based prediction model to predict the response of the audience by measuring the change of the facial features when the audience is given stimulation from the non-excited state. To present the emotion state of the audience, this research uses a Valence-Arousal model. So, this research suggests an overall framework composed of the following six steps. The first step is a step of collecting data for modeling. The data was collected from people participated in the 2012 Seoul DMC Culture Open, and the collected data was used for the experiments. The second step extracts 64 facial features from the collected data and compensates the facial feature values. The third step generates independent and dependent variables of an artificial neural network model. The fourth step extracts the independent variable that affects the dependent variable using the statistical technique. The fifth step builds an artificial neural network model and performs a learning process using train set and test set. Finally the last sixth step is to validate the prediction performance of artificial neural network model using the validation data set. The proposed model is compared with statistical predictive model to see whether it had better performance or not. As a result, although the data set in this experiment had much noise, the proposed model showed better results when the model was compared with multiple regression analysis model. If the prediction model of audience reaction was used in the real exhibition, it will be able to provide countermeasures and services appropriate to the audience's reaction viewing the exhibits. Specifically, if the arousal of audience about Exhibits is low, Action to increase arousal of the audience will be taken. For instance, we recommend the audience another preferred contents or using a light or sound to focus on these exhibits. In other words, when planning future exhibitions, planning the exhibition to satisfy various audience preferences would be possible. And it is expected to foster a personalized environment to concentrate on the exhibits. But, the proposed model in this research still shows the low prediction accuracy. The cause is in some parts as follows : First, the data covers diverse visitors of real exhibitions, so it was difficult to control the optimized experimental environment. So, the collected data has much noise, and it would results a lower accuracy. In further research, the data collection will be conducted in a more optimized experimental environment. The further research to increase the accuracy of the predictions of the model will be conducted. Second, using changes of facial expression only is thought to be not enough to extract audience emotions. If facial expression is combined with other responses, such as the sound, audience behavior, it would result a better result.

• Korean Association of Arts Management
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• no.54
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• pp.59-93
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• 2020

The development of digital technology has made consumers more knowledgeable about products than ever before. In this regard, experts have defined consumers in the digital age as knowledge seekers and pointed out that they are proficient in acquiring and sharing product knowledge prior to purchase. For service goods such as musicals, product prior knowledge executes strong effect due to such characteristics as intangibility, inseparabilit y,and heterogeneity. Prior studies in the field of performing arts, including musicals, have revealed that the prior knowledge of the audience has a positive effect on the satisfaction of the audience and WOM(word-of-mouth) intention. However, studies in the marketing field argue that consumers' high prior knowledge may have a negative impact on customer satisfaction and product evaluation depending on conditions, as they are more likely to compare, review, and expect products more closely. Therefore, in this study, we tried to identify under what conditions the musical prior knowledge enhances audience satisfaction and WOM intention. According to the results of previous studies, a mediating effect model was established in which the musical prior knowledge enhances the WOM intention through the mediation of the audience satisfaction. Then, Transportation was introduced as a mediation variable and it was verified whether the level changed the audience satisfaction and WOM intention. The reason for the introduction of the transportation construct reflects the results of previous research that the story is important component of musical. The results showed that the musical prior knowledge has a significant effect on WOM intention through the mediation of audience satisfaction. The moderating effect of transport was also significant on the relationship between musical prior knowledge and audience satisfaction. Lastly, through moderated-mediation analysis, it was confirmed that transportation moderates the mediating effect that prior knowledge affects on the WOM intention through audience satisfaction. Based on the results, we demonstrated that a musical story is fairly important to satisfy audiences with high prior knowledge. This study could contribute to the related filed in that it introduced the transportation construct for the first time, thereby broadening the understanding of the musical audiences in the era of smart consumers.

• Science of Emotion and Sensibility
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• v.14 no.3
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• pp.415-424
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• 2011

Interactive media art can be said to be art in which audience participation and communication through interaction is considered to be most important Previously the role of the audience is to unilately accepted the artist's message, whereas the role of the audience observing interaction media has been changed to the point of the producer, actively participating in completing the artwork through interaction. This study analyzed the interaction and communication between the audience and interactive media artworks from the audience's point of view (in the view of reception theory) by the investigation of the case of the artworks that were on exhibition. Employing the exhibition interpretation medium with docent explanation and wall text was experienced how to improve audience's communication when they watched the artworks. The docent explained the intention of artists and their artworks in the manner of storytelling and induced the audience to focus naturally on the artworks. As the result, the role of the exhibition interpretation medium was found to be significantly high in enhancing the degree of emotional communication with the artworks, so in this study I attempted to present that the role of the docent is an important factor for enhancing the audience participation and emotional communication through interaction with the artworks.

• Korean Association of Arts Management
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• no.57
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• pp.85-126
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• 2021

This study aims to examine the interaction between jazz musicians playing in domestic jazz clubs and audiences visiting jazz clubs in depth. This study conducted an in-depth interview, a qualitative research methodology, to find out the subjective views of jazz club musicians and audiences about jazz club performances, and analyzed the contents and presented the results. The results of this study are as follows: First, jazz musicians perceived jazz clubs as the center point of their musician careers, and from the perspective of the audience, jazz clubs were a place where jazz lovers gathered voluntarily, and where they could enjoy musical communication in a comfortable atmosphere. Second, jazz club performances gave jazz musicians the autonomy to play and considered them suitable for creating optimized sounds, and the audience recognized that jazz musicians could experience performances vividly on stage close to the audience. Third, the way jazz musicians interacted with the audience was active for musical communication with the audience, and the audience preferred the way that interaction could contribute to their performance, and the audience recognized the interaction through musical communication with the musician and the musician's consideration for the audience. Fourth, jazz musicians played a major role in realizing a performance in which interaction with the audience was complete, and audiences perceived interaction as a joy of improvisation, a bond with jazz musicians, and a special experience. This study confirmed the jazz club's status as a cultural space for the public's jazz enjoyment as well as a performance base that ultimately promotes the development and spread of jazz gods in Korea, and it is meaningful that it can serve as a guideline for jazz performance planning and jazz club operation from an art management perspective.

• The Journal of Art Theory & Practice
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• no.5
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• Cross-Cultural Studies
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• v.26
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• pp.405-444
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• 2012

This paper is based on the view that film should be conceived as a form of cultural practice whose meaning is always in the process of being produced within diverse socio-cultural contexts and aims to examine the ways in which the meaning of Korean film is (re)mediated or received in diverse cultural contexts outside the country. In this paper, we employ two theoretical grounds. Firstly, it positions itself in line with the audience studies within the field of cultural studies where the audience is conceived as active agents who produce the meaning of a popular culture text. The recruitment of the theoretical propositions from the audience studies enables recognition of the significance of the reception in film practice which recently seems to be oriented on production and distribution. Secondly, we conceive transnationality of film as that which is being produced in the process of transaction between the film and the audience, that is to say, transnationality is a form of discourse that emerges upon cultural interaction. The empirical work involves examination of a set of reviews of four films--Chihwaseon, Oldboy, Thirt, Poety--that have been published in daily newspapers and some popular film magazines in the U. S., the U. K. and France. Through the analysis of the film reviews, we identify four interpretive schemes or rather discourses recruited via which the Korean films are approached and understood: auteurism, formalism, universal themes, emotional response. We propose that these four kinds of discourse provide a common ground for the audience from different cultural backgrounds to understand Korean film. Furthermore, we also suggest that transnationality of Korean cinema needs to be reconsidered in terms of the reception as the audience from different socio-cultural backgrounds should be understood as active agents who are capable of engaging in Korean cultural texts such as film in their own way producing various meanings and these are also constituent of the meaning of the cultural texts.

• The Journal of the Korea Contents Association
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• v.9 no.3
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• pp.137-151
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• 2009

This paper aims to consider the sexuality elements that the audience perceive from athletes on television images and how those elements influence on audience satisfaction. A total of groups were composed of 3 factors, and a group of men, 8 factors. As a result of the analysis, the correlation ratio to sexuality elements was relatively higher. But the correlation to the sexuality elements, the ratio of preference on sports and the audience quantity on sports program was hardly formed. Also, the result of analysis about the influence of these elements on the audience satisfaction of sports program showed that the higher ratio was in order of the audience quantity of sports program, the preference of sports, the sexuality elements, and so on. As a whole, it was shown that, for a group of college students, the athletes' sexual image on TV had only a slight influence on the audience satisfaction with sports program.

• Korean journal of communication and information
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• v.18
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• pp.231-268
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• 2002

This is a study about the audience's aspect of decoding the photography and words comprising photojournalism. For this study, the way of audience's decoding five pictures depicting a foreign worker's death and the captions for each were analyzed. Ethnographic method was used to find distinctive features of the audiences in decoding the pictures. Picture images without any title and caption shown to audiences bring quite different decodings from those of picture images titled and captioned. This led to the following three conclusions. First, picture image added by caption transforms the way the audience decode. Second, the cultural background of an audience works as a major variable, which means how the audience decode the picture image depends on what sort of cultural background the audience has. Third, it is also learned that picture image not captioned would not be able to represent the reality faithfully. The author made an experimental trial in this thesis how the communication process works successfully in a reality that photojournalists tried to represent and the way the audience decode it for the successful communication in photojournalism.