• Journal of Digital Convergence
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• v.19 no.1
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• pp.315-325
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• 2021

The value and importance of Gamification has intensified as the way Gamification is applied to social networking applications has added to users' interest and involvement to the product. Gamification entails the adoption of gaming techniques and modes of thinking in non-gaming domains to elicit user engagement. To this end, the paper draws on Gamification's analytical model, Octalysis, with the aim of identifying user loyalty of the three major Chinese social networking applications and extracting their characteristics. In this regard, the first task in the advancement of the study is to establish an understanding of the components and characteristics of Gamification within the context of available examples. Next, a questionnaire survey covering China's three dominant social applications, WeChat, QQ, and Xiaohongshu, is administered and their user loyalty is examined through Octalysis's eight analytical frameworks. By virtue of analysis, the results demonstrate that the three elements of game mechanics, Point, Badge, and Leadboard, which are external to the game, fail to sustain the user loyalty, but are merely a means to an end. Only by including a combination of social application features, contents and user needs can Gamification considerations be maximized to ensure that users are subjectively engaged with the product.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.45-53
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• 2021

Digital morph expresses the imaginary beyond the representation of reality by expressing the narrative effect characteristically. In particular, the effect of affect can be considered to be a characteristic of digital cinema as a post-cinema. In (2013), Morphing image prominently shows the characteristics of post-cinema. By actively utilizing software technology, this film gives a shocking effect by expressing the magical image. Paying attention to the post-cinematic characteristics of morphing different from classical film, this article treated the characteristics of digital morphing. The digital morphing presents the flow of affect visualizing uncanny phenomenon of body transformation. This evokes concept of neuro-image which Patricia Pisters distinguished the neuropsychiatric pathology that appears actively on the contemporary digital screen. The Neuro-image goes beyond the temporality of Deleuze's time-image presenting future. Allegedly, the morphing of presents the neuro-images when Nina's body changed to hybrid body with black swan. Digital Morphing technique provides a shocking effect, showing delirium when the body bizarrely deformed while dancing ballet. This is different from the attraction of the morphing in film, it expresses the emotion of the neoliberal era beyond representation. In conclusion, the digital morphing presents the neuro-image system modulating the shock. This shows the characteristics of digital film which interacting and controling the shock effect as post-cinema.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.172-180
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• 2022

Focusing on the concept of "narrative of desire" advocated by Peter Brooks, this paper aims to analyze the construction and presentation of the body narrative in I Am What I Am, combined with the "body situation" concept of Merleau-Ponty, the pioneer of body studies. This paper first analyzes the changes in the characters' physical and mental cognition in the film through the "desire narrative" and "visual body" proposed by body narratologist Peter Brooks. Secondly, this paper summarizes the physical and mental evolution of the coward-rebel-disciple-self-breaker experienced by the teenager, and analyzes the continuous plot composed of the body in time and space through the physical situation formed by time and space, that is, the visual presentation of the juvenile's personal body picture. So the protagonist's physical desire and visual body in "I Am What I Am" are the meta-driving forces of the narrative. The film presents the subject's physical desire in a visual way, and reproduces the deduction process of the body narrative through the body situation.shift from the common surreal, magical special effects, exaggeration, deformation and other techniques of commercial animations such as "Ne Zha: Birth of the Demon Child" (2019) and "Legend of Deification" (2020) to the true-life "I am What I am". "(2021), "To the Bright Side" (2022) and other visual experiences of the same kind marks breakthroughs made by Chinese animation and is of practical significance.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.22 no.3
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• pp.105-110
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• 2022

In line with the trend of the 4th Industrial Revolution, we tried to study the scalability of the craft sector in the art field in the wake of the convergence of new fields through the combination of different fields. To this end, a craft case using 3D printing technology was analyzed based on the theoretical background of the definition and value of digital craft. As a result of the study, craft works using 3D printing technology could be divided into four forms according to the fusion expression method. First, the mixed type was most characterized by harmonious production without significantly deviating from the traditional craft type. Second, the component type was produced in the form in which the characteristics of digital technology, which has advantages of certain shapes and detailed work, were best exhibited. Third, the structural type became a work with analog sensibility by adding traditional craft techniques based on the results output from a 3D printer. Finally, the connection type was the work that showed the greatest glimpse of originality and uniqueness among the analysis cases of this study. As digital technology is positively widely used, future studies will also deal with effective work directions.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.101-110
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• 2019

Filmic spaces are not only a core expressive factors that can embody both internal and external meanings of films, but also play an important role for initiating dramatic context in terms of narratives. They establish visible environment in which provocative incidents occur and characters' behaviors are induced, include characters' psychology or emotional meanings of narratives and provoke tensions through symbolic meanings and the implicit function of surface background. This paper, therefore, analyzes the film, , by focusing on the dramatic function of narrative space. This film provides insights and thoughts through deep philosophical reflection, by escaping from the convention of such a genre, through deep philosophical reflection, by escaping from the convention of such a genre, though it belongs seemingly to the crime thriller genre using Mexico's drug cartel as it main material. In the film, narrative spaces are responsible for emotions invoking dramatic tensions beyond provocative incidents and the elaborately planned and controlled mise-en-scene absorbed audiences' attention by organizing ultimate suspense. In conclusion, flow and dramatic lingering imagery of this film might be achieved by power of scenes rather than plot factors. This study thus explained the correlation between narrative spaces and dramatic immersion, by analyzing spaces appearing in and visualized construction. It is hoped that this will further extends the pattern of researches on dramatic immersion, which have been primarily focused on plots and characters.

• Trans-
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• v.14
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• pp.93-122
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• 2023

Children's films can be found by country and region within the scope of world films, but children's films have different definitions depending on the country and region. For example, American children's films represented by Disney are mainly aimed at satisfying the joys of children and families.Chinese children's films place more importance on the educational role of children. Although the purpose is different, children's films in the general sense are films that main audiences are children and are created for children. Children's films in Iran differ greatly from ordinary children's films. It indirectly expresses the creator's intention by reflecting reality while looking at the adult world through the eyes of children. This special function is a children's visual language that indirectly conveys the creator's thoughts. The use of children's perspective is a kind of special strategy, paving the way for Iranian films to survive in a special creative environment, and creating unique characteristics of Iranian films. Among the numerous Iranian directors who make children's films, Majid Majidi is one of the representative directors with personal characteristics. Of his nine Iranian films written and directed, five are children's films.At the same time, in his other Iranian films, we can more or less see the traces of children and children's perspective of the narrative and performance.Looking at the use of children's vision in Iranian films, the use of children's vision in Iranian films began with children's films and developed in Iranian children's films and other genres of Iranian films.

• Journal of Korea Entertainment Industry Association
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• v.10 no.4
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• pp.77-92
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• 2016

In this study, the relationship of images and sounds of the animations "Dots" and "Loops" which Norman McLaren animated with his Animated sound technique when he worked at Guggenheim museum at New York, are analyzed through the audiovisual analysis theory by Michel Chion, and through the theory of synchronism/asynchronism and parallelism/counterpoint by Siegfried Kracauer. For the results of the analysis, there are a few difference between "Dots" and "Loops" regarding the aspect of sound arrangement and expressive aspect of abstract animation. However, there are being of two main elements of sound, composing with monophony sound, making musical structure with sound effects, and the emphasizing of parallelism with synchronization bewteen images and sounds in common with both "Dots" and "Loops". In "Dots" and "Loops", there are close correlations between pitch of sound and arrangement/shape of image, between loudness of sound and size of image, and between length of sound and length/shape of image. The image and sound of "Dots" and "Loops" have equal relationship each other, rather than subordinate relationship according as image become sound and the sound become new image with the animated sound technique. "Dots" and "Loops" show tendency of minimal art and music video. Since these two films, and remind about the new approach to sound creation in today's animation production.

• The Transactions of the Korea Information Processing Society
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• v.4 no.4
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• pp.908-922
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• 1997

In this paper,we present an dffcient way to describe the commplex meaning embedded in video data for the cintent-based retrival in a video database.Intead of viewing the data stored in a file as continuous bit stream,we associate the desired interval in the stream with a set of atteibute and value pairs which describe its meaning.Since the meaning of video data can be cimplex and can change dyamically. It is necessary to com-bine the fixed schema of attributes used in the traditional database systrm with a description method through a set of attribute and value pairs that can be defined dynamically.As the cintent of viedo data can be expressed differently according to the view point of a user,it is important ot maintain the meaning of the attribute and value pairs cinsistently for different users.This paper proposes the dffctive way to manage the set of attri-bute and value pairs.In addition,it also describes a way to define a new video presentation by separating a video stream phsycally or by sharing the portion of a bit stream,and the new method can minimize the required storage space.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.48 no.3
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• pp.91-101
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• 2011

Internet is becoming increasingly popular due to the rapid development of information and communication technology. There has been a convenient social activities such as the mutual exchange of information, e-commerce, internet banking, etc. through cyberspace on a computer. However, by using the convenience of the internet, the personal IDs(identity card, driving license, passport, student ID, etc.) represented by the electronic media are exposed on the internet frequently. Therefore, this study propose a feature extraction method to analyze the characteristics of image files containing personal information and a image retrieval method to find the images using the extracted features. The proposed method selects the feature information from color, texture, and shape of the images, and the images as searched by similarity analysis between feature information. The result which it experiments from the image which it acquires from the web-based image DB and correct image retrieval rate is 89%, the computing time per frame is 0.17 seconds. The proposed method can be efficiently apply a system to search the image files containing personal information and to determine the criteria of exposure of personal information.

• Journal of Korean Library and Information Science Society
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• v.44 no.1
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• pp.333-355
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• 2013

This paper is to examine the issues of the right of portrait and to suppose practical guideline for performing arts archives. The right of portrait protects external looks of the human beings based on the constitutional human dignity, privacy of a secret and freedom. But sometimes these rights are limited in case of the right to know of the public shall have precedence to the interests of the privacy of individuals. It is hard to regard Performing Arts as a private life in two respects: first, Performing Arts is just one of societal expressions, two, performers are conducting a given role as a performing character. Producing database with the photos and videos under the reasonable agreement from the performers and making it available as a service can be disclaimers of the right of portrait. It is hard to be acknowledged, however, as disclaimers in case of being undermined sameness in the course of using the portraits of the performers.