• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1561-1566
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• 2017

Due to the advances in machine learning and artificial intelligence technologies, many new services have become available. Among such services, recommendation systems have already been successfully applied to commercial services and made profits as in online shopping malls. Most recommendation algorithms in commercial services are based on content analysis or explicit feedback rates as in movie recommendations. However, many online shopping malls have difficulties in content analysis or are lacking explicit feedbacks on their items, which results in no recommendation system for their items. Even for such service systems, user log data is easily available, and if recommendations are possible with such log data, the quality of their service can be improved. In this paper, we extract implicit feedback like click information for items from log data and provide a recommendation system based on the implicit feedback. The proposed system is applied to a real in-service online shopping mall.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.

• Annual Conference on Human and Language Technology
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• 2018.10a
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• pp.430-433
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• 2018

딥러닝 모델의 성능 향상을 위해 적은 데이터를 증가시킬 수 있는 연구들이 필요하다. 이미지의 경우 회전, 이동, 반전등의 연산으로 쉽게 데이터를 증가시킬 수 있지만 자연어는 그렇지 않다. 그러나 최근 딥러닝 생성 모델의 발전으로 기존 자연어 데이터를 생성 모델을 통해 양을 늘려 실험하는 연구들이 많이 시도되었다. 본 논문에서는 문장 데이터 생성을 위한 VAE, 문장 분류를 위한 CNN이 결합된 모델을 한국어 영화평 데이터에 적용하여 기존 모델보다 0.146% 높은 86.736%의 정확도를 기록하였다.

• Annual Conference on Human and Language Technology
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• 2016.10a
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• pp.249-251
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• 2016

다중 화자 대화 시스템에서, 시스템의 입장에서 어느 시점에 참여해야하는지를 아는 것은 중요하다. 이러한 참여 모델을 구축함에 있어서 본 연구에서는 다수의 화자가 대화에 참여하는 영화 대본으로 구축된 MovieDic 말뭉치를 사용하였다. 구축에 필요한 자질로써 의문사, 호칭, 명사, 어휘 등을 사용하였고, 훈련 알고리즘으로는 Maximum Entropy Classifier를 사용하였다. 실험 결과 53.34%의 정확도를 기록하였으며, 맥락 자질의 추가로 정확도 개선을 기대할 수 있다.

• 월간 기계설비
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• s.287
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• pp.58-64
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• 2014

현대인들은 바쁘다. 그래서 가족과 함께 외식을 하거나 쇼핑, 헬스, 영화, 공연관람, 예식장, 호텔 등에서의 용무를 한 공간에서 해결 가능한 원스톱 라이프를 갈망하게 된다. 이렇게 바쁜 현대인의 라이프 스타일에 착안, '아빠의 하루'라는 컨셉트를 기획하여 대박 난 복합단지가 있다. 고려개발이 시행한 경남 김해시 부원역사 근처에 3만여$m^2$의 대지, 연면적 20만여$m^2$ 규모의 아이스퀘어 복합단지이다. 이러한 컨셉트가 맞아 떨어져 부원역 푸르지오 915세대 아파트는 지난 2011년 11월부터 분양이 시작되자 25:1의 최고 경쟁률을 기록하며 100% 분양되었다. 침체된 김해지역 부동산 시장에 활력을 불어넣음과 동시에 경남지역 최초의 역세권 개발사업을 성공으로 이끈 신호탄이 된 셈이다.

• Proceedings of the KIEE Conference
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• 2007.07a
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• pp.331-332
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• 2007

최근 디지털 TV방송서비스의 보급으로 채널의 수와 그에 따른 프로그램의 수가 많아짐에 따라 시청자는 모든 프로그램의 정보를 미리 알고 있는 것이 힘들어 졌다. 모든 채널과 방송 프로그램을 탐색하고 자신의 취향에 맞는 프로그램을 찾아 보기 어려워진 문제를 해결하고자 영화, 상품 등의 분야에 국한 되었던 추천연구 분야도 TV채널 까지 확대할 필요가 있다. 본 논문에서는 사용자의 TV시청 기록을 분석하여 사용자 프로파일 테이블을 구성하고, 베이시안 네트워크와 시계열 분석 이론을 접목하여 추천엔진을 구현하는 TV채널 추천 엔진을 제안한다.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.

• 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.

• Journal of the Korea Society of Computer and Information
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• v.29 no.2
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• pp.43-50
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• 2024

This paper evaluates the Korean sentiment analysis performance of large language models like GPT-3.5 and GPT-4 using a zero-shot approach facilitated by the ChatGPT API, comparing them to pre-trained Korean models such as KoBERT. Through experiments utilizing various Korean sentiment analysis datasets in fields like movies, gaming, and shopping, the efficiency of these models is validated. The results reveal that the LMKor-ELECTRA model displayed the highest performance based on F1-score, while GPT-4 particularly achieved high accuracy and F1-scores in movie and shopping datasets. This indicates that large language models can perform effectively in Korean sentiment analysis without prior training on specific datasets, suggesting their potential in zero-shot learning. However, relatively lower performance in some datasets highlights the limitations of the zero-shot based methodology. This study explores the feasibility of using large language models for Korean sentiment analysis, providing significant implications for future research in this area.

• The Journal of the Convergence on Culture Technology
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• v.1 no.2
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• pp.1-19
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• 2015

The history of modernization of Korea is divided into two folds of the colonial era in the 20's and the economic development era in the 60's. Most of the spaces built in the process of modernization were public spaces developed by the drive of the government. These spaces of modernization are functionality-oriented public places of production and at the same time, and they are the spaces of national power to symbolize the identity of national authorities. Along with changes in the society, modern spaces were reduced down to monument buildings without functionality and this requires new definition to renew the identity of modern spaces. Small stations, power plants, mines, warehouses, abandoned factories, and etc... the study has paid attention to the process of changing thought, one of the main characteristics of modernization, the relations of modern concepts projected in the spaces, framework of modern society, and placeness in the process of framework building and relations of people in the spaces with video records on the process of rebuilding new identity of modern spaces and memories of the spaces. The relations of modern spaces and memory were explored in < Seoul Station > while the relations between modern spaces and records and place identity were explored in < Onyang Folk Museum > and < Okpo Shipyard > respectively. In the relations between space identity and memory in each space, the ironic relations of power in modern spaces (placeness) and personal narrative (memories) were explored with oral narrative and video footage.