• Journal of Korea Entertainment Industry Association
• /
• v.13 no.5
• /
• pp.167-173
• /
• 2019

This study aimed to point out the social meaning of acting and art and the change of perception according to the time change. The research method was based on qualitative research through literature review. Based on the findings of this study, the following conclusions should be made. Acting is an art directly linked to the life of an individual. Therefore, the life of an individual is an activity that sublimates his or her life into art through acting. Every activity that we do in our daily life is acting, which is directly related to our talents. In other words, a talented person is recognized as a good actor, and a person with a lack of talent plays the role of an extra person. However, talent is influenced by effort and is also influenced by a given environment. That is, an individual's talent is not fixed but can be changed according to the situation. Education is the area that deals with the possibility of changing these talents. Education has been operating in a variety of ways, but with regard to acting, it has long been centered on apprenticeship education. However, as the 20th century began, systems gradually began to emerge, and in recent years, countries have developed into different educational systems. Therefore, it is necessary to practice the development and operation of various education programs so that the acting and the art are naturally applied in everyday education process and can be applied in daily life.

• Korean Association of Arts Management
• /
• no.50
• /
• pp.147-175
• /
• 2019

Gentrification is the process by which a working class or other disadvantaged area of a city changes into a middle class residential or commercial district. Gentrification, which has received much attention in arts management in recent years as part of a concern with urban regeneration, carries a generally negative connotation. In this paper, we interrogate this negative view of gentrification to explore ways arts entrepreneurship can convert the perceived threat of gentrification into opportunity. To this end, we examine the Mullae Cultural Salon in the gentrifying district of the Mullae Creative Village. Through a literature review of gentrification and arts entrepreneurship, we propose seven elements of art entrepreneurs responding to gentrification as an analytic framework for research. Our findings indicate that arts entrepreneurs were able to extend the maturity phase of gentrification and thus enhance the cultural and artistic value of the region for other artists and arts entrepreneurs.

• (The) Research of the performance art and culture
• /
• no.25
• /
• pp.57-89
• /
• 2012

The performers preparing for a performance usually experience the process of mental transference, contacting with text (drama) for the first time. It is movement from their everyday life to space in the play, when they try to break the wall between cast and themselves. The transference happens actually at the physical space, such as a dressing room, wing, (place just before appearing at a stage), and a stage (place to contact with audience). Performers keep moving among each psychological and physical space repeatedly, until the performance finishes totally. The transference means moving to each space to another, and the mental borderline means the point of mental change the performers experience during the process of transference. The mental borderline can be guessed to exist through mental aspects the performers feel when they move from each space to another. The most typical example, that shows performer's mental borderline well, is stage fright shown as tension, or anxiety among the variety of aspects. According to a research, the most performers experience that kind of mental aspect just before appearing at a stage. The study on it is already referred by my article.' A Study on Korean Performer's Stage Fright. This study aims at examining the relationship among psychological and physical space the performers experience, mental borderline when transferring and penetrating those spaces, and performer's mental change First, the concept of mental borderline is to be understood totally with preceded research. And the space the performers experience and mental borderline at transference are to be reorganized. Secondly, the area of transference in the process of performance is to be reclassified into physical and mental space. Third, analyzing the actual case of performers experiencing the mental borderline, the diversified use should be searched to make use of mental borderline as a positive element. The psychological symptoms, performers experience in the performance, can have positive consequence beside negative one. The tension occurring at the area of borderline is positive, and it can be the actual borderline for the performers. It will be researched how the performers change at the mental borderline, the state of mind is maintained, and they perform in an overall performance, through the study on the relationship between the transference and the mental borderline. And the stress and concentration caused by stage fright, and shyness will be confirmed, and the positive element of a stage, which is used as various defense mechanism.

• Journal of Intelligence and Information Systems
• /
• v.19 no.2
• /
• pp.73-85
• /
• 2013

Nowadays, in today's information society, the importance of the knowledge service using the information to creative value is getting higher day by day. In addition, depending on the development of IT technology, it is ease to collect and use information. Also, many companies actively use customer information to marketing in a variety of industries. Into the 21st century, companies have been actively using the culture arts to manage corporate image and marketing closely linked to their commercial interests. But, it is difficult that companies attract or maintain consumer's interest through their technology. For that reason, it is trend to perform cultural activities for tool of differentiation over many firms. Many firms used the customer's experience to new marketing strategy in order to effectively respond to competitive market. Accordingly, it is emerging rapidly that the necessity of personalized service to provide a new experience for people based on the personal profile information that contains the characteristics of the individual. Like this, personalized service using customer's individual profile information such as language, symbols, behavior, and emotions is very important today. Through this, we will be able to judge interaction between people and content and to maximize customer's experience and satisfaction. There are various relative works provide customer-centered service. Specially, emotion recognition research is emerging recently. Existing researches experienced emotion recognition using mostly bio-signal. Most of researches are voice and face studies that have great emotional changes. However, there are several difficulties to predict people's emotion caused by limitation of equipment and service environments. So, in this paper, we develop emotion prediction model based on vision-based interface to overcome existing limitations. Emotion recognition research based on people's gesture and posture has been processed by several researchers. This paper developed a model that recognizes people's emotional states through body gesture and posture using difference image method. And we found optimization validation model for four kinds of emotions' prediction. A proposed model purposed to automatically determine and predict 4 human emotions (Sadness, Surprise, Joy, and Disgust). To build up the model, event booth was installed in the KOCCA's lobby and we provided some proper stimulative movie to collect their body gesture and posture as the change of emotions. And then, we extracted body movements using difference image method. And we revised people data to build proposed model through neural network. The proposed model for emotion prediction used 3 type time-frame sets (20 frames, 30 frames, and 40 frames). And then, we adopted the model which has best performance compared with other models.' Before build three kinds of models, the entire 97 data set were divided into three data sets of learning, test, and validation set. The proposed model for emotion prediction was constructed using artificial neural network. In this paper, we used the back-propagation algorithm as a learning method, and set learning rate to 10%, momentum rate to 10%. The sigmoid function was used as the transform function. And we designed a three-layer perceptron neural network with one hidden layer and four output nodes. Based on the test data set, the learning for this research model was stopped when it reaches 50000 after reaching the minimum error in order to explore the point of learning. We finally processed each model's accuracy and found best model to predict each emotions. The result showed prediction accuracy 100% from sadness, and 96% from joy prediction in 20 frames set model. And 88% from surprise, and 98% from disgust in 30 frames set model. The findings of our research are expected to be useful to provide effective algorithm for personalized service in various industries such as advertisement, exhibition, performance, etc.

• Cartoon and Animation Studies
• /
• s.51
• /
• pp.293-319
• /
• 2018

Thanks to the advancement of the related technologies and equipment, today's video contents like movies, animations and soap operas are rapidly expanding their expressible cinematic imagination area. In order to fulfill the elevated visual expectations of audiences and realize exciting storytelling and fantastic world, the fusion of different techniques is actively used, and the reality for visual effects and image synthesis is increasing more and more. Accordingly, recent VFX-oriented movies using CG have a much more complicated production process than before. Therefore, the importance of Pre-visualization, aka Pre-vis is becoming bigger in the planning process for sophisticated design. Pre-vis means that the advance visualization for stories or directing ideas in the planning process before starting production of movies or animations. 3D animated Pre-visualization realizing directors' abstract and ambiguous ideas in 3 dimensional environment in advance is, as a powerful means for visual storytelling, briskly used focusing on the VFX film industry on which the present CG is broadly used, and the role of Pre-vis throughout productions has increased compared to the past. The studies, however, on the role and utility of Pre-vis are not enough. Therefore, this study was conducted on the role of Pre-vis used for present VFX movie productions using the examples of 3D animated Pre-visualization production in which the researcher of this study participated. In this study, the role of the Pre-vis that is subdivided presently, is divided into and 3D animatics and their each role is analyzed with the example images. Through this, the characteristics that Pre-vis should have are clarified and the concept of the advantages and utility led by the use of Pre-vis in productions is strengthened. The goal of this study is to induce active uses of Pre-vis throughout productions after forming consensus about the various roles of Pre-vis and their utility.

• Journal of Broadcast Engineering
• /
• v.12 no.5
• /
• pp.460-479
• /
• 2007

When culture took large part in industrial area, every country has tried to utilize own cultural contents for educational or commercial purpose and the various cultures and histories are recognized as a main concept or subject so that a number of scholars who study history increase. In video game field, special characteristics of interface that audiences participate in the game to complete story-telling is considered as efficient material for learning process. As observed above, it is important to analyze the games that every country makes and export to the world in which the video games is understood as a play of human in general. This Paper has firstly analyzed the most favorite historical games developed in Korea, the USA, Japan, Taiwan and Germany from 1980 to 2005 and secondly, compared that wars and historical origin appears in game scenario, a world view and background story and finally after point out the preferable era and genre of the countries then propose the promising way of design for historical video games. In the process of analysis of a view and heroes in historical games, we compared the real persons, the real historical events and novel in which 11.8% only employed the real persons in 8 out of 68 games. Also the real history and background story are appeared in 37 games which is 54.4% of them. We discovered that the main material that is popular for each country is the historical backing rather than real persons where the favorite historical background is chosen at which they are proud of; 3-Throne era with strong ancient Gogurye for Korea, the 1st and 2nd World Wars and the Independence War for the USA, the tide of war around Middle age for Japan, ancient history of Europe for Germany. The favorite age for video games is Ancient times with 37 games for 54.4%, Middle Age with 7 games fer 10.3%, the prehistoric age with 5 games for 7.35%, remote age with 1 for 1.47%, while current historical games favor Ancient or Modern Age.

• Cartoon and Animation Studies
• /
• s.35
• /
• pp.107-128
• /
• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.8
• /
• pp.145-159
• /
• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.

• Journal of Popular Narrative
• /
• v.26 no.4
• /
• pp.77-114
• /
• 2020

This article aims to examine the Sinpa of Along With the Gods: The Two Worlds. Along with the Gods: The Two Worlds was a box office hit with a 10 million attendance mark, but it was also criticized as a 'Korean Sinpa' at the time of its release. The original version of Along with the Gods is a Webtoon called Singwahamkke in Korean. The popularity of Singwahamkke and its adaptation, Along with the Gods was enormous, which prompted a very active research to be carried about the work. However there are only a few articles which analyze the Along with the Gods: The Two Worlds focusing on the Sinpa, even though the Sinpa of the Along with the Gods: The Two Worlds was a highly controversial issue when the movie was released. In this regard, this article tries to examine the Sinpa of the Along with the Gods: The Two Worlds closely, especially by comparing it with the original webtoon Singwahamkke Jeoseung. The body part of this article is composed of three major parts: chapters 2, 3, and 4. Chapter 2 contains an in depth explanation about the notion of Sinpa, the main conceptual research tool for this study. In chapter 3, the original webtoon Singwahamkke Jeoseung is examined closely. This chapter analyzes the 'Sinpajeok moment' in Singwahamkke Jeoseung and argues that despite the presence of Sinpa elements, the webtoon cannot be considered a 'Sinpajeok text'. On the other hand the main subject of chapter 4 is discovering what effect the adaptation from webtoon to movie had on this work, with a particular focus on the gender of Sinpa and Kim Ja-hong. Chapter 5, which corresponds to the conclusion, briefly evaluates the social significance of the controversy arisen in South Korea about the Sinpa in Along with the Gods: The Two Worlds. Sinpa is one of the most repeated code in the realm of Korean popular narrative. This is why the Sinpa of contemporary text is examined continuously even though there are already plenty of studies on the Sinpa. Everyone has called Along with the Gods: The Two Worlds Sinpa but no one has properly analyzed it. It is hoped that this article which closesly examined the Sinpa in Along with the Gods: The Two Worlds contribute to the field of Sinpa. It is also expected that this article can find appropriate contextual meaning of the series of Along with the Gods.

• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.107-146
• /
• 2021

This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.