• Journal of Korea Game Society
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• v.12 no.3
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• pp.25-36
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• 2012

Cross-Media Storytelling(CMS) is the new method of media representation. It picks the features and the elements in one media, and uses them in another media. 'Remediation' in digital era uses the content of old media in new form based on new technology. But 'CMS' represents the basic elements of the media experience in each unique style of media. It changes the focus from the technology to experience. So CMS is the new strategy of the media not based on the new technology. Adam PESapane's (2006) is a example for this strategy. It takes the game media as a subject matter. But it expresses the meta-representation of game experience in the "stop motion animation" Especially it emphasizes the narrative chain between the usual phenomenon and the visual imagination. And it shows the possibility of representation of new media experience in the old media genre. So it suggests the conditions of CMS.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1156-1159
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• 2009

Since the middle of the 1960's, revitalization of the media art has showed a new paradigm shift as a alternative to existing art genre. According to advances in technology the form of art becomes various. Nowdays, art work which is mixed with media and other genre is popular because of hybrid culture. The image medium has flexibilty to incorporate with other genre because of medium character. The media installation that applied the image medium means to mixed work of sculpture and media. The sculpture and media has been broadened the field through the media installation. this study discuss art works projected image on sculpture among various media installation works. The materiality of the sculpture and the vision of the image mix up each other. It is associated with M. Merleau-Ponty's sens theory.

• The Journal of the Korea Contents Association
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• v.20 no.6
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• pp.279-292
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• 2020

The purpose of this study is to suggest what the effect of channel brand equity is in the environment of multi-platform and to raise how channel brand equity is important by investigating how terrestrial TV's channel brand equity influences viewers' choice and use of the terrestrial TV contents on the multi-platform. The findings showed that the terrestrial TV's channel brand equity partially had a significant effect on the degree of use of Terrestrial TV contents on multi-platforms, but it did not on the diversity of media for viewing the terrestrial TV contents. In addition, it partially had an influence on the use of platform and service for viewing terrestrial TV contents by type. Finally, it also partially had impacts on the diversity of genre and the genre use by type. The findings suggest that the channel brand equity can have effects on the viewers' choice and use of broadcasting contents on the multi-platforms, and thus this study provides significant insights on what strategies are required for the competitiveness of broadcasting channels.

• Information and Communications Magazine
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• v.27 no.3
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• pp.17-22
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• 2010

최근 들어 3D에 관한 관심이 높아지면서 각종 기술적인 이슈는 물론 3D 콘텐츠의 제작 방향에 대한 논의가 활발하게 이루어지고 있다. 흔히들 3D 콘텐츠라고 부르는 것은 현재로선 어떤 특정한 장르나 엄정한 정의를 가진 용어라기보다는 일종의 새로운 매체기술을 위한, 매체 기준적인 콘텐츠의 분류 형태라고 볼 수 있을 것이다. 따라서 3D 콘텐츠라는 용어를 새로이 썼다고 해서 좋은 콘텐츠가 지녀야 할 근본적인 요소가 달라지는 것은 아니다. 물론 매체의 발전과 변화에 따라 대중들의 가치관, 예술적 시대적 패러다임, 근본적인 인간의 생활방식까지 바뀔 수 있다는 것은 자명한 사실이다. 이는 회화 문화에서 사진의 등장으로, 사진에서 동영상으로, 영화에서 TV와 비디오로, 그리고 아날로그에서 디지털로의 중심 이동이 인간의 삶에 얼마나 큰 변화를 초래했는지만 상기해봐도 쉽게 알 수 있다. 그러므로 3D기술이 가진 파급효과와 영향력이 어디까지인지 쉽게 단정할 수는 없는 것이다. 그러나 언급했듯이 어떤 콘텐츠라도 결국엔 인간이 향유하리란 점은 분명한 사실이다. 현재는 3D 콘텐츠의 제작 방향에 대해서 지나치게 매체 중심적으로 접근하려는 경향이 있는데, 역사적으로 언제나 인간에게 매력적이었던 콘텐츠의 기본은 변함이 없었다. 변하는 것은 오히려 매체나 기술, 하드웨어 쪽이었다. 따라서 콘텐츠를 매체에 이식하는 가변적인 내용물쯤으로 이해하는 기술중심의 사고에서, 인간이 근본적으로 원하는 이야기 콘텐츠를 구현하기 위해 매체가 변해왔다는 점을 이해해야 하는 콘텐츠 중심 사고도 할 필요가 있는 것이다. 본고에서는 과거 많은 매체들의 역사를 통해 새로운 매체 기반에서의 콘텐츠의 모습이 어떻게 변해왔는지를 되짚어 보려고 하며, 이를 통해 앞으로 3D 콘텐츠의 향방을 유추해 볼 기회를 마련하고자 한다.

• Journal of Digital Contents Society
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• v.12 no.2
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• pp.225-232
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• 2011

is an innovative creation, accommodating characteristics of various genres and media, ranging from elements of media aesthetics to visual aesthetics and games. Although it takes a form of a book, it exceeds stereotypes seen in paperbacks or eBooks. Because of such differentiated characteristics of this appBook (which is provided in the form of app), it induce users(readers) to conduct interactional activity. This study will mainly discuss about the formation of discourse of app based digital novel in a media aesthetic point of view. Considering the mutual relation between property of media and contents of stories, it is desirable to accommodate the mutuality of understanding between the digital media and formation discourse in creating stories.

• Archives of design research
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• v.15 no.4
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• pp.231-242
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• 2002

Due to the various reasons reducing the advertising effects in such as message reliability declining, target segmentation, and information technology, creative becomes more important than ever before. And this is more true in print advertising than electronic ones. The purpose of this study is to support to develop more effective advertisement in print advertising. Parody advertising, a postmodernic technique, effectiveness was tested empirically. Top-of-mind awareness, reliability toward advertising, attitude toward advertising, attitude toward brand, and purchase intention were adapted as a scale to measure the effectiveness of parody and non-parody advertising. Result proved the parody advertising shows higher effects than non-parody one. Conclusively saying that parody could be one of the possible ways to increase effects on print advertising to survive from the heavy competition and low attention.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.88-90
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• 2010

인터넷과 디지털 매체는 정보교류의 편의성과 복제가 가능한 매체로 사람들 간의 의사소통 방식의 변화를 가져왔다. 이러한 매체의 발전으로 이미지와 영상으로 소통하는 새로운 커뮤니케이션 문화가 형성되고 문화예술영역의 표현수단의 변화로 확산되었다. 영상매체에 친숙한 현대인들에게 맞춰 공연예술에서도 공간의 제한성에서 벗어나 영상이 접목된 작품들이 기획되고 있으며, 공연 영상이라는 새로운 커뮤니케이션 방식을 창출해 내고 있다. 본 논문은 공연예술의 고유한 영역과 더불어 다양한 장르가 통합된 독창적인 형태의 공연사례를 분석하고자 한다.

• Cartoon and Animation Studies
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• s.12
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• pp.44-55
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• 2007

Nous conduisons tous les codes graphiques specifiques d'un genre de la bande dessinee coreenne, sounziang manwha, e la "decorativite". Afin de mieux rendre compte de cette decorativite, nous suivons un chemin qui aborde des divers etats de cette specificite. Etant donne que la decorativite n'est pas originaire, ni propre totalement au genre, nous nous interessons e ses formes differentes dans les genres precedentes : dessin de mode, dessin lyrique, illustration, affiche, shojo manga, etc. Ils nous permettent e voir des ressemblances et des differences dans les styles graphiques. Nous parvenons enfin e comprendre ce que la decorativite en bande dessinee est attachee intimemnt aux traits fictifs et irreels du diegese.

• 프린팅코리아
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• v.8 no.5
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• pp.82-83
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• 2009

만화는 남녀노소 누구나 즐길 수 있는 매체다. 한 컷의 만화를 통해서도 세상의 많은 의미를 해학적으로 혹은 독설적으로 표출할 수 있는 것이 만화가 갖는 큰 매력이다. 만화가 단순한 그림책이 아닌 시대를 반영하는 문화의 장르로 구분되는 연유도 여기에 있다. 최근에는 문자만 가득한 일반 광고물에 만화나 캐릭터 등을 가미시킨 독특한 광고들이 제작되는 등 광고 분야에도 만화가 활용되고 있다.

• Archives of design research
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• v.16 no.3
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• pp.351-360
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• 2003

The concept of genre used to be applied to classify the fine arts also can investigate various way of communication system and classification. The structuring element of genre was identified by form and contents in that field. But the classification of the web, which is new communication tool, was made by defining the purpose of the web. In this paper the genre system, which consists of form, contents, and function, is applied to classify the web so that we offer tile opportunity to identify dearer characteristics of it. In order to investigate the genre elements in the communication process the structure of the semiotic triad after Charles S. Peirce was adapted, which was labeled as representamen, object, and interpretant. The representamen substitutes for the web function, the object does for the form of the web, and the representamen does for the web contents. According to the Peirce's the representamen identify the object but on the other hand it is identified by the interpretant. Logical structure of the fact that form of the web is identified by its function, and the function is identified by the contents is proved by following the theory. Therefore, the concept of web genre is supported by the element of genre having a logical structure activating in the communication process. We suggest that in recent complicated communication circumstance the genre concept should be adapted to implement the effective web communication design.