• The Journal of the Korea Contents Association
• /
• v.22 no.6
• /
• pp.78-91
• /
• 2022

The importance of emotional intelligence education in the development of children's augmented reality education content is overlooked. Therefore, in-depth research is needed to develop children's emotional intelligence. This study was conducted through theoretical consideration and case analysis. The proposal of this paper is that the augmented reality type for children aged 2 to 7 is suitable for indoor activities with marking recognition technology. To promote an understanding of emotions, a large screen is selected, and emoticon dolls or emoticon books are recommended for learning content. Children aged 7 to 11 are suitable for indoor activities of non-marker recognition technology, and can induce emotional control and emotional recognition through active manipulation. For the learning content, "3D art teaching content" and "Online Classic Musical" are recommended. Children after the age of 11 are suitable for non-marker recognition technology outdoor activities and improve each element of emotional intelligence through interaction with nature and society. For the learning content, 'Forest Play Activity through Art' and 'EQ Theater Play' are recommended. Through this paper, we intend to promote the development of children's augmented reality emotional intelligence education.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.1
• /
• pp.107-116
• /
• 2020

The Hong Kong film "Project Gutenberg" has obtained the great achievements at the box office and public reputation due to such multiple factors as realistic counterfeit banknote production process, breathtaking gunfight scenes, brain-burning plot, unexpected reversal ending, personal charm of Chow Yun-Fat and so on. In terms of film narrative, the director utilized the narrator, Li Wen, to guide the police and audience in the limited angle of perspective into the scheme, and make the symbolic meaning image of the actor Chow Yun-Fat stengthen the audience's confirmation for the imagination of "painter", with the introduction of multiple narratives and flashback of different characters and scenes, and then finally, used the narrative structure with multiple lines and layers to uncover the truth. There are three great reversals in the film, each of which is overthrow for the film plot, and every overthrow is a disavowal of the audience's cognition for the previous story; therefore it brings the greatly emotional tension, making the audience get complete release and relief in the process of the psychological game of cognition, identification and decision-making at the end.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.8
• /
• pp.175-187
• /
• 2020

The purpose of this study is to discuss the elements and meanings of the performative scenography which has been revealed through the new directorial interpretation and deconstruction process of the musical 『All Shook Up』. The performative scenography characteristics after postmodernism aim to create individual active perceptions and various social meanings through audience's voluntary and particular emergence. To this end, the theoretical foundation of scenography was examined by periods in advance. Based on this, I attempted to establish performative scenography for synthesized scenic and media design through the reconstruction process for the 『All Shook Up Travelers』. As a result, I set up visual narrative based world of 『All Shook Up Travelers』 which was produced by text-based intense images for a direct medium in order to expand actors' inner narrative and established unique performative scenography of its own: 1. enhancing the adapted one's narratives for the actors' and audience's co-existence and detachment, 2. delivering its own independent meanings which have double meanings, 3. encouraging audience's critical and active perception experiences through collage and montage of media.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.5
• /
• pp.561-568
• /
• 2022

The purpose of this study is to explore the narrative of VR disaster and safety Education introduced by disaster film narrative. VR(Virtual Reality) is be suitable technology for disaster and safety Education due to media characteristics as 'immersion', 'presence', 'interactivity', 'pleasure'. Disaster film narrative is able to be worth VR disaster and safety education as a variety of stories and educational effect. For this study, examine a theoretical study and a visiting research of 'Busan 119 Safety & Experience Center'. This study concludes that Firstly need to introduce catharsis effect, Secondly, build 'interactive narratives' that ensure active participation of users, Thirdly, introduce an 'adventure game' narrative element, Fourthly, introduce a hero-shaped narrative in which the user becomes a one-man hero, And lastly, need education as use user's multiple access and group experience learning. Therefore, This thesis is of academic value in that it suggest a desirable new direction of narrative in VR disaster and safety education.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.651-700
• /
• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.325-355
• /
• 2019

On June 12, 1791, the old bachelor Kim Hee-jip and the old lady Shin Deok-bin's Daughter get married. The wedding ceremony is a state-led so-called 'virgin virgin bachelor's marriage project'. At that time, the king ordered the recorder to record the case, which is called . The private sector also made it into a work, which is the Chinese drama written by LeeOk(李鈺). was created with the purpose of praising the king, and it inserted entertainment elements into it, so it had a frame of plays, but it did not have a performance in mind from the beginning. LeeOk uses different styles in each of the four acts. He tried to soothe his boredom by setting tales and proverbs in Acts 1 and 2, Pansori in Act 3, and drama in Act 4. In 1918, BaekDooYong(白斗鏞) published DongSangGiChan[東床記纂], which is combines drama and Yadam . In previous studies, these two were perceived as different works, but the two rooms were closely linked: the link was 'someone recognize me[知 己]'. He understood the table of contents made by Lee as 'JaeHyun(才賢)', 'deokhye(德慧)', 'Kwontaek(眷澤)', 'Bokyeon(福 緣)' respectively, and recorded the version of the yadam that fits it in . From acts 1 to 4, Baek contained his desire in it by constructing 'someone recognizes me → I recognize someone → do good things[積善] → blessings[餘慶]'. This is why we can't comprehend and as completely different works.