• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.114-127
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• 2020

The online performance market is increasing due to recent pandemic events. However, due to the short introduction time of domestic online performances, there is a lack of related prior studies or success stories. In addition, most of these projects are short-lived projects or poor profits, so it is necessary to study how to activate them. The Sac on Screen project, which has been in progress since 10 years ago, has its own imaging experience, and the screening works and screening venues are also diverse, so it is an object of study. In addition, since annual satisfaction surveys are conducted, the business was evaluated based on the voice of customers from the data of the past three years. Based on the analyzed results, a free and paid version of the business model canvas was drawn through a group of experts. As a result of this synthesis, the following major implications were drawn. First, expanding research on online performances, second, needing a sense of responsibility for quality management of content, third, increasing diversity in content selection, and fourth, enhancing the liveliness of online performances, Fifth, efforts are needed to attract private investment and develop value-added products.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.415-424
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• 2021

This study aims to identify the impact of flow experience on participation and re-view of online taekwondo demonstrations on adult women, and provide practical data to revitalize online taekwondo demonstration performances, promote visitors, and promote adult taekwondo trainees. Visitors who watched the "High Kick" online taekwondo demonstration performance performed by the Kukkiwon Taekwondo Demonstration Team were selected as a population, and a total of 248 copies of the data were finally used by distributing online questionnaires. First, the difference in flow, involvement, and re-visibility due to female visitors' experiences in taekwondo is the perception, time distortion, and involvement except pleasure factors among flow sub-factors. There is a difference in the factors of re-viewing. Second, among the flow factors of online taekwondo demonstration performances, the factors of attention, pleasure, and time distortion were found to have had a positive impact on involvement. Third, the flow factor of online taekwondo demonstration shows a positive effect on the intention of re-watching. Fourth, the level of participation in online taekwondo demonstrations has a positive effect on the intention of re-watching. The results of this study suggest changes in attitudes and behavior, such as increased involvement of female visitors and intention of re-viewing, and it is believed that online performances will help establish a new non-face-to-face cultural performance system.

• Korean Association of Arts Management
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• no.59
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• pp.101-141
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• 2021

Recently the concerns on online ticket resale have been globally soared. Numerous countries have dealt with problems about online ticket tout and resale platforms in various ways in spite of differences of scope and method on restrictions. However, in contrast with the worldwide concerns and actions, Korea has been relatively slow to take any action against regulating online ticket resale issues, and any legislation has not been made. At the end of 2020, a revised Performance Act was passed and enforced from June, 2021. With the enforcement of the bill, this study aims to provide an exploratory analysis to present current situation related to online secondary ticket resale policy in Korea. It examined how US and England have coped with legislation for online ticket resale. And then it attempted to illuminate the current situation of legislation and restrictions on online secondary ticket market in Korea and examined the effectiveness of the revised Act. Finally, this study suggested that there should be prompt consideration and actions to carry out related policies for establishing stable market ecosystem and providing fair opportunities to consumers.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.1-17
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• 2021

Social distancing caused a sharp industrial stagnation in the performance industry. Due to the continuous industrial downturn, as well as the livelihoods of many related workers, the outlook for the performance industry has reached a point where it is impossible to foresee the future. As a result of seeking various ways to recover from the continuing industrial stagnation, online concerts drew attention as the most effective alternative. Its development potential was highly evaluated as it could provide a performance culture to consumers while complying with social distancing. This study has value in terms of academic contribution as it slightly suggests a direction for the sustainable development of online performances presented as a breakthrough amid the social and industrial stagnation caused by the pandemic. therefore, this thesis describes the changes in the performance industry due to social distancing, and collects and analyzes examples of online performances by type to illuminate the value of online performances as an industry in the pandemic era and develops them. The possibility was reconsidered and the direction to be taken in the future was suggested. In each type of case, the cases focused on social value did not satisfy the economic value of profit creatiom, and even in the opposite case, if the profit creation was satisfied, the analysis result showed that the social value was not satisfied, and the planning intention of each performance was not satisfied. Accordingly, cases such as satisfying both profit creation and social value were also confirmed. Therefore, the direction for online performances was presented through the improvement of technologies and systems and the commercialization of existing platforms.

• The Journal of the Korea Contents Association
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• v.21 no.9
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• pp.372-390
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• 2021

The objective of this study is to understand the current status of damage to Korean musical caused by the COVID-19, and also to seek for the coping measures and development direction in the post-Corona era. Thus, to understand the current status of damage, this study mainly researched the contents of NAVER TV musical performance transmitted for three years from March 2018 to February 2021 for analyzing the online performance and performance statistical data of Performing Arts Box Office Information System. As a result, this study could find a hypothesis and grounds to simultaneously verify and draw the positive and negative sides, pessimistic implications, and optimistic possibility. First, the performing arts would be multilaterally expanded after being divided into offline performance and online performance. Second, the utilization of online performance could narrow the gap(polarization) between capital area and non-capital area. Third, it is urgently needed to develop a win-win model for the establishment of a new musical market. Fourth, the performers' copyrights should be fairly protected. Fifth, the visualization requires the Korean-style support foundation and talent equipped with convergent thinking and knowledge. In such temporal changes from offline performance to online performance, there should be more sophisticated qualitative and quantitative growth in musical market.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.22-34
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• 2022

This study examines the forms and current status of online performance content production in the field of the performing arts through diversified video media platforms. For this, it studied the leading case of Cirque du Soleil Entertainment and analyzed the unique brand value innovation elements of Cirque du Soleil, the background and current status of the digital hub platform of "Cirque Connect", and its various sub-contents that have diversified original contents. Digital platform applications and sub-content production in the field of the performing arts require an understanding of the needs of the public, who are familiar with media content appreciation, and strategic planning that takes into consideration everything from the initial stages of performance planning to the creation of varied sub-contents. This will promote the improvement of sub-content quality and increase the product value of digital contents in the performing arts through distinctions made from other various forms of cultural and artistic contents. environments in which information from various perspectives related to performance works can easily be accessed through online platforms will enhance the popularity of the performing arts field and allow the performing arts industry to expand its base in rapidly changing cultural enjoyment methods. For the performing arts field to be competitive within cultural trends that are being diversified, the most important tasks to be completed are gaining brand value innovation that enhances the artistic and cultural value of performance works and based on this, producing various sub-contents.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• fall
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• pp.252-255
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• 2021

코로나19 바이러스로 인해 이전에는 부가적으로 이루어졌던 온라인 공연이 오프라인 공연의 대안으로 떠오르며 비대면을 일컫는 '언택트(Untact)'에 온라인을 통한 외부와의 '연결(On)'을 더한 개념인 온택트 공연의 사례가 늘어나고 있다. 그러나 오프라인 콘서트에 직접 참여하여 느낄 수 있는 공연자와 관객 간의 상호작용을 전달하기는 어렵다. 이에 본 논문에서는 'ZOOM'이라는 화상회의 플랫폼을 활용하여 현장감을 더하고, 기존의 중계시스템에서 사용하던 SDI 방식보다 더 간단하고 효율적인 NDI(Network Device Interface) 기술을 적용한 온택트 중계시스템을 제안한다.

• Korean Association of Arts Management
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• no.52
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• pp.75-105
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• 2019

In studying culture consumption today, it is essential to understand and analyze the actual visitors' experiences in detail. This is deeply related to the fact that we can utilize subjective experience records that were previously inaccessible as data since plenty of people actually record many performance experiences in the media space such as social media. This study attempts to examine what elements actually consists of people's performance experience based on actual expression of the performance experience that exists online. For this, we collected two types of data. First, we collected posts which required performance recommendation on online platforms such as Jisik-In and Cafes to see how people describe what they want and analyzed data focusing on the modifiers. Results show that people mainly use modifiers that reflect the specific situation of the individual such as companion or age. In addition we analyzed how the experience was described after the show through the review posts of ticket booking site. Results show how expressions are centered around companions, revisit intentions, and viewing experiences besides elements such as story and music, which have been known as main satisfaction elements of performance experience in previous studies. In addition, we discussed the practical implications and limitations of the study as well as the theoretical discussion.

• Proceedings of the Korean Society of Computer Information Conference
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• 2019.01a
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• pp.437-438
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• 2019

스마트폰을 중심으로 한 모바일 기기의 보급과 온라인 소셜 네트워크 서비스의 이용자들이 증가하면서 사용자들은 많은 콘텐츠를 소비하고 공유한다. 이는 콘텐츠 사용자들의 개별적 기호에 맞지 않거나 만족도가 떨어지는 콘텐츠를 소비하게 한다. 이와 같은 문제를 해결하기 위해 소셜 네트워크 사용자에게 적합한 콘텐츠를 추천하기 위한 기법에 대한 연구가 활발하게 진행되고 있다. 본 논문에서는 온라인 상에 존재하는 다양한 정보 중에서 공연과 관련한 콘텐츠들을 중심으로 사용자 성향별로 추천을 해줄 수 있는 협업필터링 방법에 대하여 제안한다.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.842-854
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• 2021

Performing industries in Korea and abroad have been attempting a wide range of artistic experiments utilizing online platforms ever since the Covid-19 pandemic. Accordingly, this study will shed light on the functional characteristics of Zoom, which was used as a creative tool for theater performances. At first, after examining theater performances presented in Korea and abroad using Zoom and their characteristics, the production stage of the Zoom play will be analyzed by dividing it into following stages; a research-based pre-production stage, a scene workshop stage that composes each scene based on the script, a recording stage filming each scene on Zoom, and Streaming stage for presenting the show. Furthermore, the actor's approaches to acting in this production process was presumed to be separation of gaze, re-recognition of space, utilization of expressive gestures, and reaction as an active action. As a result, it proposes the possibility of ongoing development of theatrical work using Zoom and the evolutionary aspect of actor's acting approaches in accordance with theatrical work via Zoom.