• Korean small business review
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• v.41 no.3
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• pp.151-172
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• 2019

The changes in the 4th industrial revolution era are not limited to specific sectors, but affect all sectors of industry. Thus all companies are required to respond effectively to changes. Some companies response by adopting cutting-edge ICT and some companies improve the organizational structure, or enhance the competence of individual employees. This study is based on the assumption that the responses to the change in the 4th industrial revolution era should not be uniform, and that the response strategies and priorities should vary according to the characteristics of the companies. The purpose of this study is to suggest both different response strategies and the priority of the responding factors(areas) to small and medium-sized enterprises. Data were collected through the semi-Delphi method. As a result of data analysis, the priorities of the medium-sized enterprises were as follows: introduction of IT-strengthening the competence of the individuals - establishing technology infrastructure-improving organizational structure - efficiency of work - improving organizational culture. While the priorities of the response factors(area) of the small-sized companies were as follows: strengthening the competence of the individuals - efficiency of work - introduction of IT - establishing technology infrastructure - improving organizational structure - improving organizational culture.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.147-153
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• 2020

The purpose of this study is to suggest the value and type of online and offline linked advertisement, which is a new advertisement type that emerged with the advent of the 4th industrial revolution. In this study, based on literature research, we understood the marketing method that evolves from "4P (product, price, place, promotion)" to "4C (co-creation, community, conversation, currency)" and extracted derive 4C elements. Based on this, we analyzed what elements of 4C showed online and offline connectivity through the investigation of on and offline linked advertisements. Through the analysis results, online and offline linked advertisements were classified into 4 types and 14 detailed types according to how they were connected to the number of 4C elements. In this paper, as a final result, we verified that 4C elements of marketing that appeared in the era of the 4th Industrial Revolution are represented in advertisements and suggested the typology of advertisements accordingly. This study is expected to contribute to providing new insights to advertisers and researchers who produce and study online and offline advertisements.

• Broadcasting and Media Magazine
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• v.25 no.1
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• pp.83-99
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• 2020

본 연구는 '인공지능이 그린 그림은 예술적 가치가 있는가?' '인공지능을 활용한 21세기의 현시대 예술은 무엇인가?' '어떻게 실현되는가?'라는 실천적 질문에서 출발하였다. 4차 산업혁명은 초실감(Hyper-Reality), 초지능(Hyper-Intellect), 초연결(Hyper-connect)로 '초(Hyper)의 시대'를 예고하고 있다. 이 혁명은 현시대 예술가에게 현실과 가상을 분간할 수 없는 혼합현실환경, 예술의 창작활동에 훌륭한 조수로서 역할을 할 수 있는 인공지능, 예술적 경험을 가상과 현실을 넘나들며, 언제 어디서나 즉각적으로 체험할 수 있는 기술을 제공한다. 실천적 질문에 대한 해답을 찾기 위하여 주관기관 홍익대학교, 참여기관 서울미디어대학원대학교, (주)브이알애드가 2018년 5월부터 2019년 12월까지 2년간 진행한 한국콘텐츠진흥원 문화기술 연구개발 지원사업 '인공지능 기반 창작 아틀리에 발굴 및 구축 기술 개발 프로젝트'를 통하여 인공지능 엔진(stNET, vidNET, hdtNET, omniNET)을 개발하였고 예술가와 4번의 전시를 통하여 성능 및 가치를 실증하였다. 인공지능은 그동안의 예술적 장르와는 차별화된 특이점을 가지고 있으며 응용 범위 또한 다양하다. 현시대 예술가에게 새로운 장르 개척의 훌륭한 조수로서 역할이 가능하다는 것이다. 그동안 현대 예술의 조형과 개념 미술에 한정적 메시지를 넘어, 인공지능기반 초 실감, 실 시간, 직관적 인터랙션을 통하여 직접적 예술 경험을 체험할 수 있다는 점에서, 현시대의 예술가에게 초 경험 예술(Hyper-Experience Art)의 시작인 동시에 새로운 장르 개척의 단초가 제공된다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.65-73
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• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.

• Journal of Science and Technology Studies
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• v.4 no.2 s.8
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• pp.1-32
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• 2004

Korean scientific community has recently argued that, in order to attract talented young people to the science and engineering fields, more ranking positions in the governmental office should be filled in by science and engineering majors. In this context, a special attention has been paid to the Chinese case where science and engineering majors have taken the highest places in Chinese political hierarchy. This paper examines historical and social background of the salience of science and engineering fields in modem China. A closer examination shows that the salience of science and engineering fields was resulted by the distinct historical experiences of China-the socialist reform of higher education system and Cultural Revolution. The former shaped the social conviction that humanities and social sciences are less useful than science and engineering fields. The latter even spread the idea that majoring in humanities or social sciences run the risk of political oppressions. Thus, the salience of science and engineering in China is a social phenomenon reflecting an academic hierarchy forced by the radical politics of modem China. Also, the higher proportion of science and engineering majors in the raking governmental officers has been resulted by a unique Chinese political system, in particular the personnel management system of the Chinese Communist Party that emphasizes practical experiences after college graduation. The comparison of the social position of science and engineering majors in China and Korea without taking account of such historical and social background may therefore mislead our understanding of the cause of and counterplan to the decreasing popularity of science and engineering fields in Korean universities.

• Journal of the Daesoon Academy of Sciences
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• v.22
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• pp.87-131
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• 2014

한국은 백 년 이래로 군사적 침략과 경제적 대변혁을 맞았으며, 또한 종교와 문화적 측면에서 전통의 중흥기와 서학의 유입에 대한 문제를 경험하게 되었다. 이런 점에서 한국의 역사적 경험은 주변 국가의 국민들이 배울 만한 의미가 있다고 생각된다. 이와 연관하여 대순진리회가 역사를 계승하고 창신을 이루어나가는 측면의 문제는 정리해볼 만한 가치가 있다. 대순진리회의 종지는 '음양합덕, 신인조화, 해원상생, 도통진경'이다. 특히 대순진리회는 해원상생 사상으로 조화정신을 집중적으로 잘 나타내고 있다. 대순진리회의 해원은 고대 단주로부터의 원을 푸는 것에서 시작되며, 인류가 근본적으로 여러 세대에 걸친 원한을 풀어야만 행복하고 안락한 시대에 진입할 수 있다는 역사관을 보여주고 있다. 대순진리회가 해원을 푸는 방책으로 제시하는 상생은 당시의 갑오동학혁명이나 역사상 많은 종교에서 원한을 해결하는 방법과 구별되는 것이다. 과거에 있어서는 상극의 방법으로 원한을 해결하여 왔으나, 상극의 방식은 오히려 새로운 원한을 더욱 만들어 낼 수 있기 때문에, 현대에 있어 원한을 제거할 수 있는 방법은 악을 선으로써 대하는 것이라고 한다. 증산 성사 및 그 후학들은 사회의 질서를 새롭게 세우는 문제와 전통사회에서 인간 간의 조화를 방해하고 원한을 용인하는 구습을 개조하고 원을 소멸하는 문제에 주의를 기울였다. 이러한 변혁은 평등의 관념을 나타내고 있다. 증산께서는 전 세계적인 관점에서 민족과 국가 그리고 종교 간의 조화를 실현해야 할 것을 강조하셨다. 당시 동아시아 국가는 매우 폐쇄적인 상황에서 서양 국가의 침략을 받던 시기였는데, 증산 성사께서 미래의 세계는 마땅히 화합을 이루고 서로의 장점을 배우는 세계가 될 것임을 예견하셨다는 것은 그의 위대함을 보여주는 대목이다. 증산의 후천개벽사상 역시 조화의 정신을 나타내고 있다. 후천개벽사상은 전통적 참위를 현대적으로 개조한 것으로 민중을 적극적으로 인도하기 위한 것이다. 다음으로, 증산께서는 각 종교에 대해 관용적인 태도를 표하셨고, 또한 매우 진지한 태도로 타 종교로부터 자신이 주창하는 사상과 관련한 자원을 흡수하셨다. 동양의 전통적인 유불선 삼교를 가장 중요한 종교와 문화형태로 인정하시고, 그 삼교의 내용을 두로 포용하셨으며, 심지어 예수교와 서양문화까지 모두 아우르는 태도를 보여주셨다. 서양의 문화 역시 증산께서 추구하시는 신세계의 한 부분이었기 때문이다. 이러한 사실은 증산께서 당시 세계의 역사적 방향에 대해 통찰하고 있었고 이 통찰 속에서 종교 간의 관계가 조화롭게 되어야 함을 주창했음을 말해 준다. 대순사상에는 민간 무교의 내용 역시 풍부하게 들어있다. 부뚜막신, 사명, 아표신, 마장군, 백의군왕, 황천신 등 민간에서 유행했던 다양한 신령숭배의 내용을 흡수했을 뿐만 아니라, 주문과 부를 태우는 법술로 신명과 관련된 내용을 표현하고 있으며, 칠성과 관우의 신앙까지 수용하고 있다. 또한 증산 성사는 동학과 같은 신종교까지 받아들이셨다. 증산께서는 동학혁명의 비참한 최후를 완화시켰던 위대한 역사적 공적을 이루셨으며, 신종교 운동의 사회적 형태를 변화시켰을 뿐 아니라, 서로 다른 내력을 지닌 교도들간의 관계를 조화롭게 하였다. 이로 볼 때 결국 증산께서 주창한 대순사상은 사람들 간의 충돌과 모순을 소멸시키고, 조화와 상생의 사회 환경을 창조하고자 하는 것이었다고 할 수 있다.

• The Journal of the Korea Contents Association
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• v.17 no.9
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• pp.341-352
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• 2017

Regarding "Supply-side Structural Reforms of Chinese Cultural Industry(供給側結枸性改革)" that has been genuinely promoted since 2016 in China, this study aims to analyze research trends in academic circles and policies carried out by the government and draw implications about what culture industry should pursue in Korea. First of all, research conducted through industrial-educational cooperation mainly and commonly points out such problems as imbalance between demand and supply, oversupply, low culture consumption, absurdity in loans and investments structures, and lack of international influence and demands reformation. In the side of the government, <13.5 Plan for Developing Culture Industry promoted from 2016 to 2020 reflects the government's strong will taking structural reformation in the side of supply as its major route and presenting tasks to reform culture industry in general. Next, concerning implications for Korea, this author suggests them in five areas: to establish directions for new culture industry policies reflecting the changes of environment in culture industry, say, the advent of the 4th industrial revolution, to increase valid supply correspondingly to consumer demand, to improve loans and investments systems, to enlarge demand markets, and to form environment for fair market competition.

• Cross-Cultural Studies
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• v.39
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• pp.83-95
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• 2015

Every country has a dark history in the process of transition to a modern state. Many countries have until the 21st century, especially in East Asia, colonialism, has experienced conflict influenced, racial discrimination, the trauma of such massacre. Such a dark history in many countries are also still in progress. Dark History of China, which maintains the proletarian dictatorship is the 'Cultural Revolution(Wenhua da Geming)'. 'Cultural Revolution' is neither the outer aspect of the ideological struggle, but in fact it was not even class struggle ideology and class struggle. Put an end to the feudal intellectuals in China in the course of the tragedy stood and lead to build a new China suffered the humiliation of being betrayed from state power. Chinese writers after the 'Cultural Revolution' ended, was created in the process of creation reflects the tragedy of the 'Cultural Revolution' in the country(national memory) is suffering from the pain and suffering the same growth process as it saw this novel growth experienced in the personal growth process. "Road leaving at 18 years" of WiHua has ruled out the pain of growing national attention wholly to personal growth and pain. Such "Road leaving at 18 years" in the sense suggests the possibility of a typical growth story in China Contemporary Literature.

• Cartoon and Animation Studies
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• s.45
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• pp.321-343
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• 2016

The purpose of this thesis is to look through the political and social background of China preparing for a new era after getting out of the Communist Party of Mao Zedong, rapid inflow of the Western modernism and the avant-garde art arising in China with the focus of art works of Xu Bing, which contributed to the expansion of printmaking of China. Particularly, 85 New Wave Movement arose by young artists since 1985 and the China/Avant-Garde Exhibition held in Beijing in 1989 are the two important issues which reflect a new change from the traditional Chinese art. The artists of 85 New Wave Movement, who pursued a historical revolution and novelty, worked very actively by leading private exhibitions. Since the Cultural Revolution, the government owned the National Museum of Fine Art Beijing had exhibitions on a large scale displaying various visual arts such as performing art, installation, painting, sculpture but the Chinese government interrupted exhibitions two time due to bold performing art and unconcealed installation. Some artists were even taken to the police when performing art. Under these circumstances, Xu Bing, who majored printmaking, produced one of his major works, Books from the sky(1988), while he was working on various experiments focusing on the production process of printmaking and its repetitiveness. Xu Bing devised letters, carved them in trees and finally created approximately 2000 characters. Going further he displayed it as installation work, which means the developed characters go beyond a printed form, for audiences. This made him earn favorable reviews since it was a form of western art coupled with Chinese contents 'Chinese character'. After he received unfavorable reviews, however, he went to America leaving his last work in China, Ghost Pounding the Wall, in 1990, which was not able to exhibited. In those days, China society was going through a chaotic era thanks to the extinction of the Cultural Revolution and Deng Xiaoping's(1904-1997) reformation after the debacle of Tiananmen Massacre. This study looks into Xu Bing's artworks from his initial print works until he went to the US in 1991 and examines how he performed experiments utilizing reproductivity and plurality of prints tinged with Chinese traditional elements, and ultimately became one of the avant-garde artists representing the period.

• Cartoon and Animation Studies
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• s.40
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• pp.83-107
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• 2015

Propaganda is often accepted as the political promotion that had used mostly by the socialist states during the First and the Second World Wars and the Cold War and by Hitler who governed Germany. Therefore, cases of the study on the image and picture propaganda were mostly posters or films of the socialism period when the propaganda was active. However, today it is not easy any more to find propaganda of the clear promotion characteristic as the past. In these modern times, it has changed into metaphorical propaganda based on 'persuasion', rather than publicity like past. Therefore, it has been changing from the direct promotion of the past into the indirect persuasion; and from the raw, direct and powerful publicity and claim into the soft and metaphorical persuasion and appeal. Thus, investigating again the contemporary propaganda will be an important element in analyzing contemporary images. The animation, selected as a target of the analysis of propaganda, exists in various ways in various images of the modern times, which is not too much to say that today's society is the television society. Besides, the animation is the image that can cover all ages as men and women of all ages can watch, so it is proper for analysis of the contemporary propaganda of metaphorical, indirect and various forms.