• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.142-150
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• 2012

The development of technology in traditional media is affecting a variety of ways. In particular, the influence of digital images, the animation turned to a realistic 3D animation. With the release of realistic 3D animation , Robert Zemeckis received much attention but the audience did not like the animation of this style gradually. Robert Zemeckis gave up 3D animation after that drew attention for having a huge production budget while failing at a record-setting proportion in the American box-office. A digital actor in realistic 3D animation looks like real but the audience know that it is not real and they know that realistic 3D animations and live-action movies are different. So the audience will experience an emotional conflict like confusion, hesitation. The visual completion in realistic 3D animation is due to the development of technology and technology must develop to connect the audience acceptance and movie.

• Korean journal of communication and information
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• v.35
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• pp.87-113
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• 2006

This study aims to theoretically examine the validity of argument that market-opening will improve the audience welfare of media and cultural contents. To accomplish its purpose, first of all, this study classifies the spectrum of approaches on cultural market-opening in Korea. Then, it examines, by the concept of public goods, whether market-opening can bring on economic gains for audience as consumer. Finally, this study inspects the profit and loss for audience as citizen which will be brought on by market-opening on the grounds of democratic value. As a result of this study, the improvement of economic efficiency and competence, the expansion of consumer‘s choices, the preservation of cultural value that the positive approach on market-opening is promising cannot be justified theoretically and logically. Therefore, at least in theoretically, the conclusion that market-opening cannot improve the audience welfare is deduced. However, the objection of market-opening cannot be related to the distorted protectionism of nation culture. On the contrary, this study suggests the condition of market-opening debate must be a opportunity to reconsider and reform of cultural diversity in Korea.

• Korean Association of Arts Management
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• no.56
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• pp.217-242
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• 2020

At a moment in which the entire culture and arts field is in crisis due to the Covid-19 pandemic, the audience development strategies practiced by arts organizations require significant adaptation. In this paper we consider the theater for young audiences, Youngji, produced by the TYA(Theater for Young Audiences) Research Center(TYARC) of the National Theater Company of Korea (NTCK). We examine how an arts organization develops youth audiences and creates a participatory culture when normal non-face-to-face engagement is not possible. We applied an Action Research methodology to our research filed, which allowed us to track continuous change based on the evolving practices and contingencies of one arts sector organization. Using Brown and Novak-Leonard's (2011) audience involvement spectrum, Koste's (1995) concept of creative drama, and Moore's (1993) transactional distance theory, we explored the possibility of active audience development by analyzing the ways in which NTCK's arts education has adapted its approach to audience development. We find that, even in this non-face-to-face era, it is possible to effectively develop youth audiences through a dramatic play that continues from play to drama.

• Journal of Intelligence and Information Systems
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• v.17 no.2
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• pp.109-117
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• 2011

The exhibition industry, as technology-intensive, eco-friendly industry, contributes to regional and national development and enhancement of its image as well, if it joins cultural and tourist industry. Therefore, We need to revitalize the exhibition industry, as actively holding an exhibition event. However, to attract a number of exhibition audience, the work of enhancing audience satisfaction and awareness of value for participation should be prioritized after improving quality of service within exhibition hall. As one way to enhance the quality of service, it is thought that the way providing personalized service geared toward each audience is needed. that is, if audience avoids the complexity in exhibition space and it affords them service to enable effective time and space management, it will improve the satisfaction. All such personalized service affordable lets the audience's preference on the basis of each audience profile registered in advance online grasp. and Based on this information, it is provided with exhibition-related information suited their purpose that is the booth for the interesting audience, the shortest path to go to the booth and event via audience's smart phone. and it collects audience's reaction information, such as visiting the booth, participating the event through offered the information in this way and location information for the flow of movement, the present position so that it makes revision of existing each audience profile. After correcting the information, it extracts the individual's preference. hereunder, it provides recommend booth and event information. in other words, it provides optimal information for individual by amendment based on reaction information about recommending information built on basic profile. It provides personalized service dynamic and interactive with audience. This paper will be able to provide the most suitable information for each audience through circular and interactive structure and designed smart-phone application supportable for updating dynamic and interactive personalized service that is able to afford surrounding information in real time, as locating movement position through sensing. The proposed application collects user‘s context information and carrys information gathering function collecting the reaction about searched or provided information via sensing. and it also carrys information gathering function providing needed data for user in exhibition hall. In other words, it offers information about recommend booth of position foundation for user, location-based services of recommend booth and involves service providing detailed information for inside exhibition by using service of augmented reality, the map of whole exhibition as well. and it is also provided with SNS service that is able to keep information exchange besides intimacy. To provide this service, application is consisted of several module. first of all, it includes UNS identity module for sensing, and contain sensor information gathering module handling and collecting the perceived information through this module. Sensor information gathered like this transmits the information gathering server. and there is exhibition information interfacing with user and this module transmits to interesting information collection module through user's reaction besides interface. Interesting information collection module transmits collected information and If valid information out of the information gathering server that brings together sensing information and interesting information is sent to recommend server, the recommend server makes recommend information through inference with gathered valid information. If this server transmit by exhibition information process, exhibition information process module is provided with user by interface. Through this system it raises the dynamic, intelligent personalized service for user.

• Korean Journal of Health Education and Promotion
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• v.30 no.5
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• pp.1-13
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• 2013

Objectives: While many studies have been conducted on whether smoking scenes in films actually affect audience members' smoking, a comprehensive conclusion has yet to be derived. This study systematically reviewed the effect of smoking scenes in films on audience members' attitudes, beliefs, and actions. Methods: We analyzed a total of 146 studies searched on PubMed and PsycINFO (41 qualitative studies, 72 cross-sectional studies, 20 longitudinal studies, and 13 experimental studies). Results: Whereas qualitative studies have only demonstrated that audience members tend to perceive smoking scenes in films not as negative information but as positive information, cross-sectional studies have reported a significant association between smoking scenes and smoking behavior notwithstanding the problems of classifying the groups studied and measuring the degree of exposure. Through follow-up observations, longitudinal studies have reported that such media exposure can serve as a predictor of future smoking. Finally, with exposure and confounding variables under control, experimental studies have confirmed that smoking scenes in films indeed affect audience members' attitudes, beliefs, and actions regarding smoking. Conclusions: Scenes of actors and actresses smoking can be imitated or learned through audience members' immersion and identification and reproduce positive images that may render smoking socially acceptable.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.4
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• pp.317-328
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• 2018

The purpose of this study is to examine the effect of the quality of performance on audience satisfaction, and to verify the mediating effect of service value and traditional image in this process. The subjects of this study included 211 male and female adults who experienced the Korean opera performance in Seoul, Korea in October. Collected data was used as a model of path coefficients obtained through analysis of covariance structure and hypothesis test. As a result of verification, program quality, physical environment quality, and quality of the stage performance perceived by the audience showed a statistically significant positive correlation with performance experience attributes. The path coefficient between performance attribute and service value, performance experience attribute and traditional image were also positively and statistically significant. Further, the path coefficient between performance experience and audience satisfaction showed a positive relationship. The service value and traditional image, service value and audience satisfaction, and the path coefficient between traditional image and audience satisfaction were statistically and positively significant. Finally, all hypotheses were adopted and study results confirmed the effect of service quality and experience attributes on audience satisfaction for the popularization, modernization and marketing strategy of the Korean opera. In this process, it is meaningful to verify the role and function of service value and traditional image.

• Journal of Korean Theatre Studies Association
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• no.49
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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.

• International Journal of Contents
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• v.17 no.4
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• pp.101-118
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• 2021

The prevalence of We-Media short videos has attracted emerging independent fashion designers (EIFD), a new force in the fashion industry directing their brand promotion to We-Media for amassing online followers. However, compared to famous content generators, EIFDs' creative, design-based visual appeal has not provided them with the significant edge. The former's success is admittedly supported by the platform backstage algorithm. Yet, the content is the cornerstone for building relationship between the sender and the reception. The authentic perception of the content is one of the basic appeals for which the audience chooses to follow the source. Therefore, with the EIFD short video as the research content, this study is established from the audience's perspective to understand the different dimensions of their authentic perceptions of EIFDs short video. The study was conducted mainly in the form of the Q method. The collection of 52 Q samples were realized through the Focus Group Interview and literature review on multidimensional authenticity. Thirty-six subjects participated in the sorting of the Q-sets. Finally, four dimensions of audience authenticity perceptions of EIFDs were derived: 'ingenuity', 'relevant', 'transparent', and 'experiential'. The corresponding short video content design strategies are suggested for effective communication of EIFDs and their personal brands.

• The Research Journal of the Costume Culture
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• v.24 no.3
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• pp.367-384
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• 2016

The aim of this paper is to examine relationship characteristics and the relevance there of in the context of the Chanel collection, between the contemporary fashion show viewed from the artistic side and intermedia on interaction. This study analyzed the relationship characteristics between intermedia and fashion shows by focusing on Chanel fashion shows from 2010 S/S to 2016 F/W as actual case. The results are as follow: First, participational accessibility indicates the experience of a designer and audience in active participation changing into passive participation. Second, audience immersion is represented by the perception of being involved by the audience in the place and acting. Third, conceptual symbolism is sending of messages through the designer's concept manifesting in the specific features of the design. Finally, expandability of media explains trans-boundaries in experimental attempts. It concludes that fashion show is a space where the audience can have visual as well as new knowledge and experience through multi-sensory channels. The Chanel collection which is considered a huge art project at the fashion show, showed a relationship between philosophy and the direction through season concepts and brands. The Chanel collection has brought a new experience through the convergence of communications and cultural media, such as music and art according to traditional brand image.

• Journal of Korea Multimedia Society
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• v.11 no.12
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• pp.1765-1774
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• 2008

Due to recent increase of product placement(aka. PPL) in TV drama and entertainment program, the audience of these programs is exposed to the advertisement in the form of the props and backgrounds without discernment. Advancement in digital data broadcasting technology enabled advertisers to insert detailed information of the product or associated advertisement link into the content of the broadcast program as an interactive advertisement. With the interactive advertisement, the audience can focus on the content of the program and the advertiser can create an advertisement with a rich content through the interaction between the advertisement and the audience. It is possible because the interactive advertisement is dynamic advertisement behavior only activated by the audience's intention. In this research, we develop a Hot-spot generator to insert interactive advertisement in the DMB broadcast program. We also suggest dynamic Hot-spot generation technique that allows the Hot-spot object to follow not only the shape of the advertising object in the program, but also the movement of the object as the program progresses.