• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.413-418
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• 2006

개인용 미디어 단말로서 MP3 플레이어는 이제 음악 파일을 감상하기 위한 일상 생활에서 중요한 휴대 필수품이 되었으며 단순히 음악을 재생하는데 그치지 않고, 각종 정보들을 표시하기 위한 작은 화면이 부착되고 있으며 더 나아가 이미지 정보나 동영상을 표현할 수 있는 기능들이 추가 되고 있다. 이처럼 변화하는 멀티미디어 서비스에 발맞추어 MPEG 에서는 Multimedia Application Format (MAF) (ISO/IEC 23000) 라는 새로운 표준안을 제안하였다. MAF 표준안의 기본 방식은 산업 현장 및 사용자의 요구에 빠르게 부응하기 위해, 기존에 존재하는 표준안들을 결합시켜 새로운 멀티미디어 파일 포맷을 정립하였다. 그 첫 번째 결과물로서, 이미 널리 쓰이고 있는 MP3 파일 포맷에 새로운 기능을 추가하기 위한 Music Player MAF 포맷의 FDIS 가 제안되었다. Music Player MAF 는 MPEG-1 Audio Layer III(MP3) 와 MPEG-7 MDS 메타데이터 정보를 결합한 파일 포맷으로. 기존 ID3 태그에서 표현되는 정보 보다 훨씬 풍부한 메타데이터 정보와 더불어 선택적으로 하나의 JPEG 이미지를 포함한 형태로 이루어져 있다. 그러나, 현재의 파일 포맷은 시간이 고려되지 않은 하나의 JPEG 이미지만을 포함할 수 있기 때문에, 오늘날 사용자가 요구하는 다양한 멀티미디어 서비스를 제공하기에는 많은 한계점을 갖고 있다. 본 논문에서는 Music Player MAF FDIS 에 제안된 세가지 형태의 Music Player MAF 파일 포맷에 관해 기술 한다. 복수의 JPEG 이미지 및 텍스트를 저장하기 위하여 각각의 파일 포맷이 갖는 문제점을 언급하고 하나 이상의 JPEG 이미지와 자막 정보를 MP3 음악 정보와 동기화 시켜 추가 할 수 있는 기능을 추가를 제안한다. 또한 제안된 파일 포맷을 쉽게 생성할 수 있도록 기존의 XMT-O 스키마를 기반으로 MAF 를 위하여 새롭게 MAF XMT 스키마를 정의하고 정의된 스키마를 기반으로 구현된 Music Player MAF 의 저작툴과 제안된 확장 뮤직 플래이어 MAF 을 위한 재생툴을 구현한다.

• Journal of Broadcast Engineering
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• v.8 no.1
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• pp.63-71
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• 2003

In sport programs, real-time virtual imaging system come into notice for new technology which can compose information like team logos, scores. distances directly on playing ground, so it can compensate for the defects of general character generator. In order to synchronize graphics to camera movements, generally two method is used. One is for using sensors attached to camera moving axis and the other is for analyzing camera video itself. KBS technical research institute developed real-time sensor-based virtual imaging system 'VIVA', which uses four sensors on pan, tilt, zoom, focus axis and controls virtual graphic camera in three dimensional coordinates in real-time. In this paper, we introduce our system 'VIVA' and it's technology. For accurate camera tracking we calculated view-point movement occurred by zooming based on optical principal point variation data and we considered field of view variation not only by zoom but also by focus. We developed our system based on three dimensional graphic environment. so many useful three dimensional graphic techniques such as keyframe animation can be used. VIVA was successfully used both in Busan Asian Games and 2002 presidential election. We confirmed that it can be used not only in the field but also in the studio programs in which camera is used within more close range.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.32 no.1C
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• pp.78-85
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• 2007

With the advancement of the digital broadcasting and popularity of the Internet, recently, many studies are making on the digital watermarking for the copyright protection of digital data. This paper proposes the minimum modification method of motion vector to minimize the degradation of video quality, hiding subtitles of many language and information of OST(original sound track), character profiles, etc. as well as the copyright protection. Our proposed algorithm extracts feature vector by comparing motion vector data with watermark data, and minimize the modification of motion vectors by deciding the inversion of bit. Thus the degradation of video quality is minimized comparing to conventional algorithms. This algorithm also can check data integrity, and retrieve embedded hidden data simply and blindly. And our proposed scheme can be useful for conventional MPEG-1, -2 standards without any increment of bit rate in the compressed video domain. The experimental result shows that the proposed scheme obtains better video quality than other previous algorithms by about $0.5{\sim}1.5dB$.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.351-356
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• 2023

The purpose of this study is to analyze how the movie <The Book of Fish> (2021) represents Joseon, which is slowly collapsing with the Neo-Confucian order of the 19th century shaking, and to discuss its meaning. Prior to the analysis, the analysis framework of the historical drama was presented considering the narration characteristics of the historical drama. Using the analysis framework of historical dramas, we confirmed that <The Book of Fish> is representing the image of Jeong Yak-jeon and Jang Chang-dae living their lives as independent individuals between the limitations and possibilities of the times based on the plot structure of the narrative of exile. Through the central memory and surplus memory created through plot and style elements such as contrast between black and white and color images, voice-over narration, chinese poetry subtitles and music, the film asks us universal questions about what it takes to live as an independent individual.

• Cartoon and Animation Studies
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• s.33
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• pp.363-382
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• 2013

Up until about ten years ago, the use of typography played only an auxiliary role on broadcast television programs, primarily by transmitting information in order to facilitate a basic understanding of content. Recently, however, kinetic typography has become an important component in broadcast production. In fact, kinetic typography has developed into a visual language and a means of artistic expression, one that is increasingly used in the production of entertainment programs on television. This paper analyzes six aspects of kinetic typography: manner of development, location, intent, expressive techniques, color and font selection. Particular attention is placed on their use in three highly rated television entertainment programs: "2 Days & 1 Night", "Running Man", and "Infinite Challenge". The development way consists of the technique : starts off with cut and ends with cut. While, other techniques show conversation and situation representation using Z axis : zoom-in, zoom-out in , X axis : pan in <2 Days & 1 Night>. and Y axis : tilt in . Typographic design elements, expression technique, color, font are shown up according to the feature of each program. The resulting analysis suggests new ways for motion arts designers and the broadcast media to use kinetic typography in the development of television programs.

• Journal of Broadcast Engineering
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• v.11 no.1 s.30
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• pp.28-41
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• 2006

Due to the rapid development of multimedia appliances, the increasing amount of multimedia data enforces the development of automatic video analysis techniques. In this paper, a method of ToC generation is proposed for educational video contents. The proposed method consists of two parts: scene segmentation followed by scene annotation. First, video sequence is divided into scenes by the proposed scene segmentation algorithm utilizing the characteristics of educational video. Then each shot in the scene is annotated in terms of scene type, existence of enclosed caption and main speaker of the shot. The ToC generated by the proposed method represents the structure of a video by the hierarchy of scenes and shots and gives description of each scene and shot by extracted features. Hence the generated ToC can help users to perceive the content of a video at a glance and. to access a desired position of a video easily. Also, the generated ToC automatically by the system can be further edited manually for the refinement to effectively reduce the required time achieving more detailed description of the video content. The experimental result showed that the proposed method can generate ToC for educational video with high accuracy.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.779-790
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• 2021

Film literacy comprises the process of producing a new creation through understanding the elements that make up a film, the content of a film, and a critical and creative thinking process. Film literacy is employed in fields such as composition, science, social studies, and geography, and, additionally, it is used to cultivate humanities literacy and critical thinking skills. Yet despite the large proportion of the film script in the movie, it is not easy to find literacy education cases that use film English as a teaching method. Film English is a practical and authentic material, and is suitable as an English learning material in an EFL context like Korea. However, the approach of using films to teach and learn differs according to the content and genre of a film. Thus, the teacher may have a difficult time organizing and preparing for class. This study suggests six class activities that can be commonly applied to English classes using films based on the areas of critical, cultural, and creative (3Cs) activities. Four hundred and five college students taking Movie English classes participated in the present study and frequency analysis was conducted to find out their preferences through a questionnaire survey. The results from conducting class activities in university liberal arts classes suggest that the most preferred activities of students are related to cultural, critical, and creative, in that order. Creative activities that are far beyond English instruction utilizing various digital tools or providing additional reading materials can be a burden on learners.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.251-265
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• 2020

The Drone shot is moving images captured by a remotely controlled unmanned aerial vehicle, takes usually bird's eye view. The hand-held shot is moving images recorded by literal handheld shooting which is specialized to on-the-spot filming. It takes a walker's viewpoint through vivid realism of its self-reflexive camera movements. The purpose of this study is to analyze comparatively aesthetic functions of the drone shot and the hand-held shot. For this, the study understood Certeau's concepts of 'place' and 'space,' chose World Travel 'Peninsula de Yucatan' episode as a research object, and analytically applied two concepts to the scenes clearly presenting two shots' aesthetic characteristics. As a result, the drone shot took the authoritative viewpoint providing the general information and atmosphere as it overlooked the city with silent movements removing the self-reflexivity. This aesthetic function was reinforced the narration and subtitles mediating prior-knowledge about proper rules and orders of the place. The drone shot tended to project the location as a place. Conversely, the hand-held shot practically experienced the space with free walking which is free from rules and orders inherent in the city. The aesthetics of hand-held images represented the tactic resisting against the strategy of a subject of will and power in that the hand-held shot practiced anthropological walking by means of noticing everyday lives of the small town and countryside than main tourist attraction. In opposition to the drone shot, the hand-held shot tended to reflect the location as a space.