• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.14 no.3
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• pp.153-168
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• 2019

Augmented Reality(AR) has been one of the important technologies of the 4th industrial revolution. Consumer acceptance of new technologies is substantial issue for market expansion, but there have been few empirical studies on factors that affect the acceptance or use intention of AR. In this study, we have explored and analyzed the factors influencing technology acceptance based on the extended unified theory of acceptance and use of technology(UTAUT2) model in the AR business and have discussed it with comparison with existing research based on this analysis. The results of this study suggest that the main variables of the existing UTAUT1 model had significant positive effect on the intention to use, such as performance expectancy, effort expectancy, facilitating conditions and hedonic motivation, habits of UTAUT2. In addition, perceived risk introduced in this study had a negative effect on intention to use. Furthermore, the impact between these two factors have been effort expectancy(${\beta}=.294$)>habits(${\beta}=.268$)>hedonic motivation(${\beta}=.266$)>performance expectancy,(${\beta}=.263$)>facilitating conditions(${\beta}=.233$)>perceived risk(${\beta}=-.094$). The impact of social influence did not have a significant effect on intention to use. The intention to use was analyzed to have a significant positive effect on the actual use and recommendation intention. On the other hand, the hypothesis that the age and gender has played a moderating role between independent variables and the intention of use were investigated. Age was found out to play a role as a moderator between social influence, facilitating conditions, hedonic motivation, habits and intention to use. In the same way, gender has been shown to play a moderating role between facilitating conditions, perceived risk and intention to use. Academic and practical implications are suggested based on the results of this study.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.27-40
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• 2020

The marathon has long been established as a representative lifestyle for all ages. With the recent expansion of the Work and Life Balance trend across the society, marathon with a relatively low barrier to entry is gaining popularity among young people in their 20s and 30s. By analyzing the issues and related words of the marathon event, we will analyze the spottainment elements of the marathon event that is popular among young people through keywords, and suggest a development plan for the differentiated event. In order to analyze keywords and related words, blogs, cafes and news provided by Naver and Daum were selected as analysis channels, and 'JTBC Marathon' and 'Culture' were extracted as key words for data search. The data analysis period was limited to a three-month period from August 13, 2019 to November 13, 2019, when the application for participation in the 2019 JTBC Marathon was started. For data collection and analysis, frequency and matrix data were extracted through social matrix program Textom. In addition, the degree of the relationship was quantified by analyzing the connection structure and the centrality of the degree of connection between the words. Although the marathon is a personal movement, young people share a common denominator of "running" and form a new cultural group called "running crew" with other young people. Through this, it was found that a marathon competition culture was formed as a festival venue where people could train together, participate together, and escape from the image of a marathon run alone and fight with themselves.