• Journal of Intelligence and Information Systems
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• v.19 no.3
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• pp.25-44
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• 2013

Accessing movie contents has become easier and increased with the advent of smart TV, IPTV and web services that are able to be used to search and watch movies. In this situation, there are increasing search for preference movie contents of users. However, since the amount of provided movie contents is too large, the user needs more effort and time for searching the movie contents. Hence, there are a lot of researches for recommendations of personalized item through analysis and clustering of the user preferences and user profiles. In this study, we propose recommendation system which uses ontology based knowledge base. Our ontology can represent not only relations between metadata of movies but also relations between metadata and profile of user. The relation of each metadata can show similarity between movies. In order to build, the knowledge base our ontology model is considered two aspects which are the movie metadata model and the user model. On the part of build the movie metadata model based on ontology, we decide main metadata that are genre, actor/actress, keywords and synopsis. Those affect that users choose the interested movie. And there are demographic information of user and relation between user and movie metadata in user model. In our model, movie ontology model consists of seven concepts (Movie, Genre, Keywords, Synopsis Keywords, Character, and Person), eight attributes (title, rating, limit, description, character name, character description, person job, person name) and ten relations between concepts. For our knowledge base, we input individual data of 14,374 movies for each concept in contents ontology model. This movie metadata knowledge base is used to search the movie that is related to interesting metadata of user. And it can search the similar movie through relations between concepts. We also propose the architecture for movie recommendation. The proposed architecture consists of four components. The first component search candidate movies based the demographic information of the user. In this component, we decide the group of users according to demographic information to recommend the movie for each group and define the rule to decide the group of users. We generate the query that be used to search the candidate movie for recommendation in this component. The second component search candidate movies based user preference. When users choose the movie, users consider metadata such as genre, actor/actress, synopsis, keywords. Users input their preference and then in this component, system search the movie based on users preferences. The proposed system can search the similar movie through relation between concepts, unlike existing movie recommendation systems. Each metadata of recommended candidate movies have weight that will be used for deciding recommendation order. The third component the merges results of first component and second component. In this step, we calculate the weight of movies using the weight value of metadata for each movie. Then we sort movies order by the weight value. The fourth component analyzes result of third component, and then it decides level of the contribution of metadata. And we apply contribution weight to metadata. Finally, we use the result of this step as recommendation for users. We test the usability of the proposed scheme by using web application. We implement that web application for experimental process by using JSP, Java Script and prot$\acute{e}$g$\acute{e}$ API. In our experiment, we collect results of 20 men and woman, ranging in age from 20 to 29. And we use 7,418 movies with rating that is not fewer than 7.0. In order to experiment, we provide Top-5, Top-10 and Top-20 recommended movies to user, and then users choose interested movies. The result of experiment is that average number of to choose interested movie are 2.1 in Top-5, 3.35 in Top-10, 6.35 in Top-20. It is better than results that are yielded by for each metadata.

• Trans-
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• v.3
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• pp.109-135
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• 2017

The purpose of this thesis is to analyze characteristics of everyday movement showed in performances of Steve Paxton. A work of art has been realized as a special object enjoyed by high class people as high culture for a long time. Therefore, a gap between everyday life and art has been greatly existed, and the emergence of everyday elements in a work of art means that public awareness involving social change is changed. The postmodernism as the period when a boundary between art and everyday life is uncertain was a postwar society after the Second World War and a social situation that rapidly changes into a capitalistic society. Changes in this time made scholars gain access academically concepts related to everyday life, and affected artists as the spirit of the times of pluralistic postmodernism refusing totality. At the same period of the time, modern dance also faced a turning point as post-modern dance. After the Second World War, modern dance started to be evaluated as it reaches the limit, and at this juncture, headed by dancers including the Judson Dance Theatre. Acting as a dancer in a dance company of Merce Cunningham, Steve Paxton, one of founders of the Judson Dance Theatre, had a critical mind of the conditions of dance company with the social structure and the process that movement is made. This thinking is showed in early performances as an at tempt to realize everyday motion it self in performances. His early activity represented by a walking motion attracted attention as a simple motion that excludes all artful elements of existing dance performances and is possible to conduct by a person who is not a dancer. Although starting the use of everyday movement is regarded as an open characteristic of post-modern dance, advanced researches on this were rare, so this study started. In addition, studies related to Steve Paxton are skewed towards Contact Improvisation that he rose as an active practician. As the use of ordinary movement before he focused on Contact Improvisation, this study examines other attempts including Contact Improvisation as attempts after the beginning of his performances. Therefore, the study analyzes Satisfyin' Lover, Contact at 10th & 2nd and Bound that are performances of Steve Paxton, and based on this, draws everyday characteristics. In addition, related books, academic essays, dance articles and reviews are consulted to consider a concept related to everyday life and understand dance historical movement of post-modern dance. Paxton attracted attention because of his activity starting at critical approach of movement of existing modern dance. As walking of performers who are not dancers, a walking motion showed in Satisfyin' Lover gave esthetic meaning to everyday movement. After that, he was affected by Eastern ideas, so developed Contact Improvisation making a motion through energy of the natural laws. In addition, he had everyday things on his performances, and used a method to deliver various images by using mundane movement and impromptu gestures originating from relaxed body. Everyday movement of his performances represents change in awareness of performances of the art of dancing that are traditionally maintained including change of dance genre of an area. His activity with unprecedented attempt and experimentation should be highly evaluated as efforts to overcome the limit of modern dance.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Cartoon and Animation Studies
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• s.37
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• pp.393-411
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• 2014

The volume of world market for serious game in year 2015 is expected to be about 9.6 trillion, and the volume of educational serious game market is expected to surpass half of the whole serious game market. In Korea, the development of game for educational purpose has dominated around the education enterprises since late 90s. In 2008, 'Serious Game Forum' was founded led by the Ministry of Culture, Sports, and Tourism with experts from many fields in the society and there were progressing of making policies and plans for potential development of the serious game industry, but the effects were not successful than expected. In 2012, the Ministry of Education, Science, and Technology announced commercialization policy of digital textbook by 2015 and the serious game for educational purpose got attention again. Then, the serious game market became more vigorous with the dispersion of smart devices.13) As a result, the serious games on the smart devices or interlocking between the online and smart devices became an important issue in development rather than the online only serious games. Math field has international competitive power through export in the educational serious game market which takes more than half of the serious game market. Therefore, developing serious game for math education is a good area to raise competitiveness in domestic and international game industries. Moreover, it has no received preferences from students and parents although it has high potential for positive change of individuals and society. The reason is that students recognize it as educational content rather than a game and they avoid it, while parents recognize it as game but not an education. This phenomenon happens because the game elements and educational elements are not properly mixed but focused only on education or emphasized only the fun factors of game when it was developed. Therefore, the purpose of this research is to suggest a direction of developing serious games effectively combining with elementary math for elementary students to get interested in math while playing games. The research will analyze the current elementary math textbooks and find contents which may be combined with the game genre that elementary students enjoy playing these days. This research received advice from serious game developers and math education expert group to reflect the inclination of elementary school students, and respond to the demands from parents and educational institutions, and suggested a direction of developing serious games for effective math education.

• Cartoon and Animation Studies
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• s.30
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• pp.169-199
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• 2013

In various directions of cartoon, vertical stroll direction is opposite to the page direction of existing published cartoon with the popularity of webtoon and established new genre. Lots of studies on published cartoon focus on the cut direction by page, but webtoon doesn't have any concept of page. The pivot of cartoon oriented people is changed from paper to computer monitor as times go by, characteristics of media are changed and media is gradually diversified. Like the strengthening of mobile caused by smart phone's popularity, tablet PC's propagation in public education, etc. cartoon is included to the environment of media which is rapidly changed. In this situation, one of cartoon's unchanged important identities can be the direction made by harmony between picture and text. This thesis analyzed symbolic characteristics and effective value of hyogwatae, mimetic words of cartoon, focusing on works of Heo, Young Man. Hyogwatae just delivers not only sound but also shape, feeling, status, etc. and has significant characteristics by invoking the imaginary structure of literature. Strengths of modern Korean, various linguistic expressions and syllabic systems, let people feel minute feeling of language and difference of emotion and remember the memory through the direct and indirect experiences, so it makes it nuance. Because of the characteristics, representative works of Heo, Young Man have commercialization and writer characteristics, have communicated with people for a long time and have plentiful knowledge of Korean cartoon. The characteristics of hyogwatae in Heo, Young Man's cartoon make a lot of effects for the expression and delivery of cartoon more than the general expectation. When conducting the study focusing on the symbolic process of language, uncertainty and vague standard of judgement caused by the wide factors of study on the direction of general cartoon could be endured. And, through the Heo, Young Man's deep analysis on hyogwatae's direction, readers enjoy the process while inferring actually and intellectually between pictures and sentences. In the process, the equipment stimulating imagination more than pictures, effects and dialogues is hyogwatae. It's reader's equipment of active participation and its strength is symbolic structure.

• Korean journal of communication and information
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• v.45
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• pp.151-186
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• 2009

This article focuses on analysing and interpreting cultural imperialism issues that have long been debated. One of issues among them is related to the characteristics of international cultural fluid. What had been debated is that cultural imperialism has been ended or not and the debates were connected to the so called 'reverse cultural imperialism'. The other issue is about this fluid is the continuation of globalization or a part of localization and this is related to the phenomena of cultural homogenization or hybrid. General trend was that simplistic cultural imperialism which had been occurred during the 1970s and 1980s was no longer effective but global dominance by transnational global media is still strong and worldwide. Therefore my research interest is centered on how they look international cultural exchanges with regard to cultural imperialism. And is the framework of cultural imperialism thesis still effective tool in researching and analysing international cultural flows? How do we look globalization relating to international exchanges? Is globalization an another aspect of imperialism? In conclusion, international cultural fluid is not so simple. Like natural phenomena or human progress, a phenomenon is not consisted of a single factor or relation. Cultural fluid is a complex one mixed with various phenomena and relations. This is related to internal and external contradictions, internal and external dynamics of a society and nation, and social and cultural life of human beings. Recent research results show that globalization and localization are closely related to many country's programming schedule, and particular cultural interpretation of specific programmes and culture are adopted to the country's culture and patterns. Cultural fluid has both-sides. One the hand it has useful and positive sides and on the other hand it has harmful and negative aspects. Imperialistic factor, globalization, cultural homogenization or hybrid are all operated and functioned together in cultual fluid. It is difficult to say that cultural imperialism thesis has been ended because American and global media's dominance is still effective. What needed at this time for us is a complex and dynamic analysis of international cultural fluid instead of simplistic cultural imperialism.

• Cartoon and Animation Studies
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• s.43
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• pp.285-320
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• 2016

Cartoons and Animation are convergent arts created with a composite application of language arts described in the form of literary texts and sounds, plastic arts visualized in the form of artistic paintings, and film arts produced in the form of moving pictures. An academic university major in cartoons and animation studies established in late 20th century however, did not satisfactorily meet the needs in academic research and development and the free expression of artistic creation was limited. In order to systematize the major in cartoons and animation studies, an convergent approach to establish and clarify following are in demand : the terms and definitions, the historical developments, the research areas and methods, the major education and related jobs and start-ups. New culture and arts industries including cartoons, animation, moving images, and games contents are not yet listed in the industries listing service jointly provided online by the portal site Naver.com and Hyung-Seol publishing company. Above all, cartoons and animation are inseparably related to each other that even if one uses the term separately and independently, the meaning may not be complete. So a new combined term "Animatoon" can be established for the major in cartoons and animation studies and also used for its degree with concentrations of cartoons, animation, moving images, games, and etc. In the Introduction, a new combined term Animatoon is defined and explained the use of this term as the name of the major and degree in cartoons and animation studies. In the body, first, the Historical Developments classified Animatoon in the ancient times, the medieval times, and the modern times and they are analyzed with the help of esthetics and arts using examples of mural frescos, animal painting, religion cartoons, caricatures, cartoons, satire cartoons, comics, animation, 2 or 3 dimensional webtoons, and K-toons. Second, the Research Areas of Animatoon reviewed the theories, genres, artworks, and artists and the Research Methods of Animatoon presented the curriculum that integrated the courses in humanities, science technologies, culture and arts, and etc. Third, the Major Education considered Animatoon education in children, young adults, students of the major and the Related Jobs and Start-Ups explored various jobs relating to personal creation of artwork and collective production of business-oriented artwork. In the Conclusion, the current challenges of Animatoon considered personalization of the artists, specialization of the contents, diversification of the types, and liberalization of the art creation. And the direction of improvement advocated Animatoon to be an academic field of study, to be an art, to be a culture, and to be an industry. The importance of cartoons and animation along with videos and games rose in the 21st century. In order for cartoons and animation to take a leading role, make efforts in studying Animatoon academically and also in developing Animatoon as good contents in the cultural industries.

• Cartoon and Animation Studies
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• s.32
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• pp.189-220
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• 2013

It is expected that interests and supports for 'the creative economy' will increase considerably since the establishment of the Park Geun Hye Administration. According to a report with respect to its cultural policy handed in by the Minister of Culture to the president on March 28, 2013, the administration will set up a basic plan of establishing regional fusion-typed laboratories including such genres as story telling, animations, games, cartoons, performances, etc. in May this year, and opening contents Korea laboratories across the country by the first quarter in 2014 as part of its core task. Furthermore, it will focus on implementing such policies for training professional manpower as creative mentoring programs, expansion of education for field employees and expansion of a creative education for young students, including a plan to train 1,000 creative contents talents by 2017 as described in the report. Since the Comics Promotional Law took effect in August 2012, the Korea Culture and Content Agency and the Comics Industry have been establishing the third plan for medium and long term development of the comics industry together. One of the most important policy is about training professional manpower. "Joint Business with Creative Talents," in which the amount of 4.5 billion won was invested, has already been implemented, and "Support Business for Field Employees of Comics Creating Enterprises," in which the amount of 0.6 billion won was invested, has been performed so far through the Korea Comics Contents Agency upon the request of the Comics Industry. The government's plan to train professional manpower is interlocked with its foundation and employment policies, and thus, this will be a good opportunity for colleges and universities that have comics related majors, especially for those that need proper measures for bring their graduates a chance to get a job. Accordingly, it seems that if the government develops more aggressive policies, reflects this on the third medium and long term development plan of the comics industry, and then organizes policy and study meetings led by the learned societies to implement this, it will be able to generate a significant synergy effect. This Article will concentrate on first examining the flow and patterns of the policy to train special manpower by the comics industry, the Ministry of Culture and related institutions since the establishment of the Comics Promotional Law, analyzing some problems in the first and second medium and long term development plan of the comics industry to be implemented from 2003 through 2013 and the third medium and long term development plan to be announced in June 2013 to train professional manpower, and then suggesting an effective direction and some alternatives to train professional manpower in universities in a medium and long term way.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.