• Proceedings of the Korean Society of Computer Information Conference
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• 2019.07a
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• pp.15-18
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• 2019

증가하는 메시징 앱 이용자 수, 언제 어디서나 시간과 장소에 제한받지 않는 고객 응대 서비스 그리고 대화형이라는 친근성 등은 챗봇(Chatbot)의 대표적인 장점들이다. 과거에는 단순히 패턴을 찾아 이미 설정된 기계적인 반응만을 했지만, 최근에는 여러 기술, 특히 AI 기술의 발달로 실생활에서도 도움을 줄 수 있는 챗봇들이 많아지기 시작했다. 본 논문에서는 인터넷이나 핸드폰 앱으로 영화 예매하는 것이 익숙하지 않은 사람이나 채팅을 하는 것이 익숙한 사람들이 신속, 편리하게 영화 예매를 할 수 있도록 지원하는 챗봇을 구현하고자 한다. 이를 위해 Dialogflow를 사용해서 예매자가 영화의 필수 정보들을 자연스러운 채팅을 통해 파악하도록 한다. 또한 영화와 관련된 키워드만 언급해도 되묻기 기능을 추가해 해당 영화를 유추할 수 있는 질의를 통해 정확한 예매를 지원한다.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.165-191
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• 2019

The purpose of this article is to elucidate why the motif of time travel is repeated in the science fiction narrative by examining the functions of this motif in the SF movie series of Star Trek in its narrative and non-narrative aspects. Star Trek IV: The Voyage Home (1986) aims to attract the audience's interest in the story through the use of plausible time travel in the form of the slingshot effect which causes the spacecraft to fly at very fast speeds around an astronomical object. The movie also touches upon the predestination paradox that arises from a change of history in which it describes a formula of transparent aluminum that did not exist at the time. The film also serves as an evocation of the ideology of ecology by including humpback whales in the central narrative and responding to the real issue of the whale protection movement of the times. Star Track VIII: First Contact (1996) intends to interest the audience in the narrative with the warp drive, a virtual device that enables travel at speeds faster than that of light and a signature visual of Star Trek, at the time of its birth through time travel. The film emphasizes the continuation of peaceful efforts by warning the destruction of humanity that nuclear war can bring. It tackles with the view of pacifism and idealism by stressing the importance of cooperation between countries in the real world by making the audience anticipate the creation of the United Federation of Planets through encounters with the extraterrestrial. Star Trek: The Beginning (2009) improves interest through the idea of time travel to the past, this time using a black hole and the parallel universe created thereby. The parallel universe functions as a reboot, allowing a new story to be created on an alternate timeline while maintaining the original storyline. In addition, this film repeats the themes pacifism and idealism shown in the 1996 film through the confrontation between Spock (and the Starfleet) and Nero, the destruction of the Vulcan and the Romulus, and the cooperation of humans and Vulcans. Eventually, time travel in three Star Trek films has the function of maximizing the audience's interest in the story and allowing it to develop freely as a narrative tool. It also functions as an ideal solution for commenting on current problems in the non-narrative aspect. The significance of this paper is to stress the possibility that the motif of time travel in SF narrative will evolve as it continues to repeat in different forms as mentioned above.

• Proceedings of the Korea Information Processing Society Conference
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• 2008.11a
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• pp.82-85
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• 2008

고객의 기호와 요구에 부응하는 서비스의 제공을 위해 영화 요소 중 정확한 장르의 분류는 고객의 선택에 있어 중요한 문제이다. 기존의 수작업에 의한 장르 분류는 시간과 비용, 신뢰성 등에서 비효율적이다. 이러한 문제의 해결을 위해 영화 시놉시스(Synopsis) 기반의 기계학습 방법은 효율적인 대안이 될 수 있다. 본 논문에서는 대다수 영화서비스 주체가 보유하고 있는 시놉시스 정보를 기반으로 하여 기계학습을 이용한 영화장르 분류에 관한 하나의 정형화된 방법을 제시한다. 기계학습 Algorithm 중 LibSVM, RandomComittee, LMT, NaiveBayes, PART Algorithm 을 이용하여 Algorithm 별, 장르별 분류 정확도를 측정하여 비교한다.

• Cartoon and Animation Studies
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• s.13
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• pp.133-151
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• 2008

This paper was written for the purpose of seeking a radical answer to the reason why we feel an actuality while watching a digital animated film. In the world of digital animation, there exist surrealistic subjects and the objects, which have come been brought into life, play their own role there. Furthermore, objects, which do not exist anywhere in the real world, appear and are closely connected with each other by means of a time discourse. Their world seems to be identical to our world or not. This study defined an actuality of a digital animation world as an actuality of Imaginary reality, an actuality of existent object, an actuality of anonymous object and an actuality time discourse, and examined such actuality. A frame of concept for examining the actuality was borrowed from philosophical statements of phenomenology that understands the nature of an actuality through 'zu den Sachen selbst'. Philosophical statements cited for searching an actuality specifically were those already explained by E. Husserl, M. Heidegger, J.-P. Sartre, G. Bachelard, M. Merleau-Ponty, and P. Ricoeur, Methodologically, this study attempted to understand our existence and recognition of the world in a phenomenological point of view, apply this principle to the world of a digital animation, and subsequently discuss it with the provision of examples. The purpose for this study is to reconsider the fundamental moaning of a digital animated film and evaluate its value.

• Proceedings of the Korea Information Processing Society Conference
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• 2013.11a
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• pp.1149-1151
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• 2013

본 연구는 영화 콘텐츠의 배경(공간적/시간적)에 해당하는 키워드를 자동으로 추출하는 기법을 제안한다. 제안된 기법은 영화 콘텐츠들의 리뷰 텍스트 데이터를 웹 상으로부터 수집하는 과정, 수집된 텍스트 리뷰 데이터의 전처리 과정에 해당하는 형태소 분석 및 개체명인식 과정, 마지막으로 통계적 기법을 이용하여 최종적으로 배경에 해당하는 단어를 선택하는 과정으로 이루어진다. 자동으로 추출된 배경 정보는 사용자 평가를 통하여 정확도를 측정하였으며, 자동 생성된 배경 정보를 이용하여 영화 콘텐츠의 검색 및 추천 등에 다양하게 사용될 수 있을 것으로 예상된다.

• Child Health Nursing Research
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• v.20 no.2
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• pp.96-104
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• 2014

Purpose: Nurse educators can use film effectively to promote nursing students' motivation and indirect experiences. The purpose of this study was to develop a teaching-learning design using films based on Kolb's experiential learning model for understanding of child growth and development, and to evaluate students' satisfaction with cinenurducation according to learning type and content. Methods: Participants were seventy-four first year nursing students in the spring semester of 2013 at a private university located in Busan. In each class, participants watched film, participated in peer-to-group discussion and an educator's lecture, and wrote a composition based on Kolb's four learning stages. After class, participants filled out a questionnaire developed by the researchers. Results: Results showed a high satisfaction with cinenurducation regardless of learning type and content concerning child growth and development. Advantages of cinenurducation included it being "fun and interesting," "helpful to understand the characteristics of children," and "develop critical thinking through discussions." Disadvantages included "length of time needed," and "burdensome." Conclusion: Films are advantageous in that they provide indirect experience for nursing students. Selection of appropriate films and evaluation of learning goal achievements are important to maximize the effectiveness of cinenurducation.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.111-119
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• 2019

Time and space are the foundations of all the narrative. As the aim and content of narrative, spatial narrative plays an increasingly important role in the narrative movies. With the development and application of digital technique, the expressiveness of movie space is enhancing, and spatial narrative has become the focus of directors and critics. As a developing cinematic narrative form, spatial narrative is taking advantage in many aspects, including narrative structure, narrative effect, creative skills and audience acceptance, which can bring breakthrough and innovation to the creation of cinematic narrative. Based on the spatial theory in movies, the paper analyzes the space presentation approaches in the movie Hugo. Combined with the motivating factors, structure factors, symbolic significance and psychological factors of narrative space, the paper specifically analyzes the significance of spatial narrative in American movie Hugo. By researching the glamour of narrative space in the movie, the paper intends to provide certain reference value to the narrative expression of the movies today.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.1126-1129
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• 2006

최근 멀티플렉스 극장들이 많이 생기면서 영화 관객들이 한 장소에서 다양한 영화를 선택하여 감상할 수 있게 되었다. 그러나 극장에서 제공하는 영화정보는 비치된 팜플렛과 공중파 광고홍보가 유일하며 더 자세한 정보를 얻기 위해서는 인터넷이나 다른 매체를 통해 사전에 정보를 입수해야 하는 불편함이 존재하고 있다. 본 논문에서는 증강현실 기술을 이용하여 관객이 특정 마커가 부착된 영화팜플렛을 카메라에 비추면 마커에 해당되는 동영상을 찾아 재생하고 이때 스크린에 출력되는 동영상을 통해 영화의 예고편 및 등장인물에 대한 소개 등을 실시간으로 관객에게 제공하는 시스템을 구현한다. 본 시스템을 통해 관객에게 별도의 매체나 시간의 소비 없이 해당 극장에서 다양한 영화에 대한 정보를 쉽게 얻을 수 있고 이는 영화를 선택하는데 있어서 많은 편리함을 제공할 뿐만 아니라 영화를 선택하는 과정에 있어 시각적인 재미를 함께 제공한다.

• Journal of Korea Multimedia Society
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• v.13 no.9
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• pp.1365-1372
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• 2010

Information of video can be percieved as the form of visual rhythm through temporal ordering systems. The shot, the base unit of video analysis, affects audience psychologicaliy with various temporal combination. Here, psychological stress and density of the story can be adjusted by the point of view shot of character. Acordingly the correlation analysis of shot duration and point of view shot can be useful for visual rhythm research. Identity one of the thriller genre works was selected for analyzing. This works produced by Kyle Cooper, a famous person in the opening sequence field. This works produced by Kyle Cooper, a famous person in the opening sequence field.

• Journal of Korean Philosophical Society
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• v.117
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• pp.355-372
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• 2011

G. Deleuze a $exerc{\acute{e}}$ sa philosophie $cin{\acute{e}}mathographique$ dans ses œuvres essentielles $Cin{\acute{e}}ma$ 1: l'Image-Mouvement(Minuit:1983) et $Cin{\acute{e}}ma$ 2: l'Image-Temps(Minuit:1985) qui n'indiquent pas l'histoire $cin{\acute{e}}mathographique$ mais la taxinomie, et par $cons{\acute{e}}quent$, de l'image et du code. Cette ${\acute{e}}tude$ consiste donc $\grave{a}$ rendre compte la de l'image que G. Deleuze touche dans cette $d{\acute{e}}finition$ et $\grave{a}$ $v{\acute{e}}rifier$ quelles images peuvent ${\hat{e}}tre$ $cat{\acute{e}}goris{\acute{e}}es$: comment. Nous distinguons l'image-mouvement et l'image-temps qui sont les $cat{\acute{e}}gories$ essentielles chez $Cin{\acute{e}}ma$. C'est surtout sur ce point que nous insistons. Dans ce cas, nous discutons aussi de la question des spectateurs du film qui conduit. Cette question permet susciter de la $mani{\grave{e}}re$ $d^{\prime}{\hat{e}}tre$ des spectateurs entre le film qui est $compos{\acute{e}}$ de l'image-mouvement dont G. Deleuze decrit comme 'classique' et le film qui est $trait{\acute{e}}$ de l'lmage-temps dont il $d{\acute{e}}finit$ comme 'moderne': quelle variation. Dans ce point $d^{\prime}{\acute{e}}tude$, G. Deuleuze ecrit cette question $mentionn{\acute{e}}e$ $\grave{a}$ travers son oeuvre $Cin{\acute{e}}ma$($\grave{a}$ voir ch.7, Volume2).