• Journal of the Korea Convergence Society
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• v.9 no.7
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• pp.185-191
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• 2018

The digital technologies brought a structural transformation to cinema, have lead a change in the way of existence of an assembly of images called cinema, and have shared expression methods with new-media. To look into how in terms of cinema style of the film era and the digital era are different, this article will focus on the matter of 'indexicality.' From the point of view of perceptive realism the discourses on digital image deconstruct the dichotomy between illusionism and classical realism. Therefore the actuality of an image does not depend on only indexicality but has much to do with how the viewers fundamentally perceive the image. In this age of digital cinema it does not matter to distinct a composite-image from a reality-image. This article inquires the relation of indexicality, the world and digital images in digital cinema on the level of reception, and reconsider in terms of image production.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.760-770
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• 2016

This study aims to investigate and measure the effectiveness between the value of the reward program and loyalty of the reward program as well as its influential transference effect of the loyalty of the entity (theater or exhibition) via investigating both its behavioral loyalty and attitudinal loyalty effectiveness. As a result, higher value of reward program increases the level of loyalty of the reward program. Key results were found that the behavioral loyalty positively influences the loyalty of the theatre/exhibition -the operator the loyalty program since the behavior loyalty requires participatory engagement, the reward program becoming a stimulator acting as a valuable component to drive consumer's revisit. However the attitudinal loyalty effectiveness was not as effectives as the behavioral loyalty since consumers tend to perceive a reward program as an informative beneficial tool rather than an emotionally engaging platform.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.241-255
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• 2016

This study aims at examining the making and distribution course of performing arts and its converged form with technology and industry in terms of the Contents Promotion Act. Since the 2000s, the inter-area contents making and sharing methods have been changing the making and distribution structure of performing arts. The recent production of performing arts contents live videos extends the areas of arts creation and communication beyond the time and spatial boundaries of performing arts and changes the existing systems. The performing arts which started with nowness and spatio-temporal restriction on the premise is now creating a new platform over the spatio-temporal boundary through the live video. Performing arts, in convergence with the areas of technology and industries, expands universal approaches and shows the public value of cultural fairness at public performing arts centers. In this context, this study aims at seeking the possible extension of performing arts contents by examining how the so-called high-class performing arts such as opera, theatre and classical music combines with the visual industry.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.147-156
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• 2013

It is almost impossible to keep the exact documentations of veterans' works due to the fastidious and convoluted nature of this particular field. The histrorical recordings of Korean Theater in general has been improved due to growing educations of staffs and actors through theatre associated universities But the need of preserving the recordings of veteran actors has not been recognized enough, therefore their precious assets has been lost, which is such a regretful truth. However, with the necessity in mind, the following study is focused on Gil-ho Kim, an actor, playwright, director, and his works on 'Namdo-Mokpo-Plays'. Comparisons will be made, focusing on these plays, between his life as an actor and the meaning of documenting a veteran actor's assets.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.172-179
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• 2010

The Sydney Opera House is built on a peninsula of rock that juts out into Sydney Harbor. The site was once a landing place for ships. Utzon, Architect, designed the theatres for the Opera House to fit the shape. The two theatres were placed side by side so that they both had extensive harbor views. The Sydney Opera House is designed the foyers to take full advantage of these sights. Because the building would be seen from all sides, even from above, it was to be a piece of sculpture. The outside was as important as the inside. The audience enters from behind the stage and walks around to the foyers overlooking the harbour. The wing and backstage areas are small because of the way the foyers wrap around the theatre. The stage is made up of large platform lifts which provide the vertical movement for changing scenery. The sets come up from the workshops below stage. The flytower fits under the largest roof shell and doesn't break the skyline. The important elements are the podium, the shells and the reminders. The podium, the huge monolithic concrete structure, contains hundreds of rooms and nearly all the technical equipment. The podium is clad with pink granite slabs and seen from the water. This design eliminated a maze of fire escape stairs and, at the same time, gave people a wonderful view of the harbour. The egg shell is remarkably strong and express the form as the symbol of the site.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.2
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• pp.336-344
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• 2010

Stage costumes are characterized by the importance as a medium of total visual expression on a synthetic art and need to be designed more effectively. This study followed the stage costumes of the play 'Long long time ago whuo-ee whuoee' which participated in the China-Japan-Korea University Theatre Festival. By consisting of the framework of a Korean story that tells and expands the visual expression province by the access method of a producer, the unique costume in the play was created by the dyeing of the traditional hangi. First, the use of hanji in theater represents originality and a fresh variation with the formative beauty of stage costumes in accordance with hanji that conforms to the recreation of tradition. Second, the dip dyeing technique made it possible to express colors limitlessly and the airbrush dyeing technique along with dyeing twice could account for the weak points of the color. As a result, the color brought effect as expected. Third, the weak points were supported by a Jumchi technique that created the fibroid material tangled with stronger adhesion in the creation of a hangi costume. In addition, dyed hangi was attached to the outer fabric. It allowed the costume to have a unique texture that was both soft and tough. This enforced the visualization of the costume and durability to prevent possible damage by the performers. Forth, pieces of hanji were attached to the damaged parts of the costume after re-visiting the dress rehearsal. As a result, the stage costumes represented the shabby clothes that express the social class of the characters. A new understanding of the excellence of traditional hanji was found and confirmed the possibility of it as a material for stage costumes through the study.

• Journal of Information Display
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• v.8 no.2
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• pp.10-14
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• 2007

A blazed $GxL^{TM}$ device is described as having high optical efficiency (> 70% for RGB lasers), and high contrast ratio (> 10,000:1), and that is highly reliable when used in a large-area laser projection system. It has a robust design and precise stress control technology to maintain a uniform shape (bow and tilt) of more than 6,000 ribbons, a $0.25-{\mu}m$ CMOS compatible fabrication processing and planarization techniques to reduce fluctuation of the ribbons, and a reliable Al-Cu reflective film that provided protection against a high-power laser. No degradation in characteristics of the GxL device is observed after operating a 5,000- lumen projector for 2,000 hours and conducting 2,000 temperature cycling tests at $-20^{\circ}C$ and $+80^{\circ}C$. At the 2005 World Exposition in Aichi, Japan the world's largest laser projection screen with a size of 2005 inches (10 m ${\times}$ 50 m) and 6 million pixels (1,080 ${\times}$ 5,760) was demonstrated.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.503-508
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• 2017

Screen X is one of the Premium Large-Format platforms. Screen X projects images and video along the side wall of the theatre that go in synch with the front main screen. It's a different way of immersing the audience. This technique demands film-makers taking the two new "screens" into account when making movies. Screen X is the most obvious feature of viewing content with a range of 270 degrees. Viewers can view the experience of viewing experiences beyond the frame of screen screens by allowing viewers to experience the experience beyond the frame of screen screens, which means screen X can immerse the audiences without 3D glasses. Based on the results of this study, studies of content specifications and how they fit in the screen X are studied, and goals for maximizing the visual effects of the visual effects are studied. Looking forward to future research paper researchers and industry professionals who will benefit from future research papers.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.3-12
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• 2008

Most of these cultural spaces are Western architecture which is completely unrelated to our traditional style. In Japan's colonial rule of Korea these Western formation flowed in and passed on by them. Therefore before the understanding of modem cultural space built in Japan's colonial rule of Korea, it's essential to study about the background of the western period in that time, architecture and trend of interior. Due to Great Depression and other reasons the economical modernism of architecture raised in this period. In this thesis, based on such background of period, cultural space has been divided into assembly, theatre and exhibition spaces. Those spaces were studied according to its expressional characteristics and brought to following conclusion from the analysis. The cultural spaces were created around 1930 due to an increase of demand when the modernism started to establish. Like other buildings cultural space expressed modernized elevation and space formation with ferroconcrete building. However until Japan's colonial period the cultural areas were not used for public but for Japanese authority class's social gatherings only. Consequently, unlike other buildings the classical elements that could express these characters were more used in cultural spaces especially in theater and exhibition areas. This distinctiveness didn't appear separately but according to type of rooms in one space. Once more, place like assembly space was expressed with modernism, special or recreation rooms where people pursue a comfort were expressed with decorative style. Also a special theater which was used for only one person was generally expressed with western style to represent the stem character such as power.

• Journal of Digital Contents Society
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• v.18 no.5
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• pp.803-810
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• 2017

Currently, every person possesses a smart phone due to the development of the IT industry. There is an improper situation in which a smart phone is not set in silent mode, such as a lecture room, a library, and a theatre hall. The proposed system automatically automates the function of smart phones where they are designated as a public place or etiquette area and automatically return the function of the smartphone if they deviate from the location of the site. It is also equipped with a combination of autonomous devices and services, based on Bluetooth communications, which are applied to ultra-light low-power IoT(Internet of Things) devices, and has features that allow diverse types of features and services to be added without requiring deformation of the hardware.