• Journal of Convergence for Information Technology
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• v.7 no.2
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• pp.101-109
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• 2017

This study was undertaken to understand how reference groups, convenience and pursuit of information affect subscription-based Webtoon service usage through reliability and curiosity, through which this study provides some suggestions for developing Webtoons and increasing profitability of service providers. Therefore, the reliability and feasibility analysis were conducted for 449 readers who used the paid webtoon more than once. In addition, the causality test was conducted to verify the research model. As a result of the research, this study shows the following implications: First, it is recommended that webtoon service providers produce webtoons with the webtoonists who have more expertise developing new webtoons. Second, webtoon service providers should focus on advertising during the episodes that are currently being subscribed to, or in the next episodes in order to stimulate the usage needs of readers rather than focusing on advertising the products related to the characters and their development and sales. Third, webtoon service providers are supposed to develop webtoons by using materials that can appear in everyday life. Fourth, webtoon service providers should continue their research in order to develop high quality products and express the unique characteristics of their advertisements by increasing investment in the development of products and advertising.

• Journal of Information Technology Applications and Management
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• v.28 no.6
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• pp.69-85
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• 2021

In the era of the 4th Industrial Revolution, not only artificial intelligence, big data, robots, and biotechnology, but also cultural industries that require human creativity will lead. Among the cultural industries, the animation industry has high industrial utilization value due to its high connection with other industries. Among them, animation characters play the most important role as the subject leading the story of animation. In particular, the villain character not only serves as a medium for the main character to lead the story, but also captivates the audience with a different presence from the main character, adding to the fun and completeness of the animation. These characters consist of visual elements such as form and color, of which color is a tool that effectively conveys the character's personality and role to the audience, and is the first visual element to be considered in delicately describing the character's emotions and the relationship between characters. Therefore, this study attempts to analyze the color of the villain character. To this end, we will select eight Disney animations to derive the characteristics of the villain character's color by analyzing the color, value, chroma, and color association of the colors used in the Disney villain character. As a result of the analysis, the colors mainly used by Disney to convey the villain's image were red (R) and Orange (YR), and there was no difference depending on the times or animation production methods. Second, the brightness of Disney villain characters appeared to be the same medium/famous regardless of the times and production methods, and the frequency of use of high brightness was very low. In terms of saturation, the frequency of use of high and low saturation was high. Third, blackish (Bk), Strong (S), dull (Dl), and deep (Dp) tones were mainly used for tones. In particular, in recent 3D animations than previously produced 2D animations, the use of low chroma and the high black mixing rate increased. Fourth, it can be seen that Disney uses color as a visual method to more clearly express the psychology of the villain character using color association. In conclusion, the color selection of animation characters should be carefully considered as a tool to convey the character's personality, role, and emotion beyond simply using color, and the color selection of characters using color associations and symbols strengthens the narrative structure. It is hoped that this study will help analyze and select the character color of animation.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.118-129
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• 2018

In AI chatbot service via a messenger, a profile image of the chatbot is the first thing that users see to communicate with the chatbot. This profile image not only manages an impression about the profile owner in SNS on followers, but also makes an important impression about chatbot services on users. Thus motivated, this study investigates proper profile images tailored for the types of chatbot services and users. Specifically, I reviewed the preferred images and expressions of chatbots for each purpose of chatbot service. Then, in a case study, I collected and analyzed the representative chatbot profile images for the purpose of fun and counseling. The profile images are categorized as robot, human, animal, and abstract images. Based on these categories, I surveyed the preferred profile image of the chatbot service in either the text type or image type alternatives. For the purpose of fun, in the text version, I found that both men and women preferred a human image to others. However, in the image version, men preferred woman and robot images while women preferred cute animation character and robot images. For counseling services, both men and women preferred woman and animal images most, which is similar to the results of the text version of questionnaires as well. While both genders consistently preferred real photo images, women tend to like abstract images more than men do. I expect that the results of this study would be useful to develop the proper profile images of AI chatbot for each service purpose.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.97-106
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• 2020

The mainstream of cinema animated film in today's world is the animated film produced by film companies such as Disney, DreamWorks, and 20th Century Fox. These animated films are influenced by Hollywood blockbusters, high cost, and big-budget, which have brought a gorgeous and splendid audio-visual feast to the global audience. DreamWorks Studios founded in 1994 has become noted in just over ten years. It has produced many high-quality animated works which are well-known all over the world. This achievement is no doubt inseparable from its superior external animation industry environment, and benefited from the American animation industry which commercially operated for almost 100 years. However, in addition to these external environmental factors, DreamWorks' achievements have also come from the extraordinary and superior creation of the animated film scripts, strong narrative script ensures the logic and appeal of animated films. This article takes Kung Fu Panda series, Shrek series, The Prince of Egypt, The Croods, Chicken Run, Megamind and other representative films produced by DreamWorks as key analysis object, using Jean Baudrillard's simulation and imaging theory, Syd Field's screenwriting skills, and Hegel's aesthetic point of view, explores the Creative Style of DreamWorks' Animated Film Script which contains the following four aspects. The script is exaggerated and novel, and the subject matter is rich and targeted. The script creation is very imaginative and can fully express the visual beauty. The structure of the story is well controlled, the space comes from reality but full of imagination. The characters have distinctive personality and the dialogue is moderated but forceful.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.127-150
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• 2021

This study focuses on analyzing the epic characteristics of a korean sports cartoon called "Burning Ground" in the 1970s. Through this, we would like to reveal that only "Burning Ground" has a unique narrative. We hope that such research will accumulate and serve as the basis for the study of Korean sports cartoon. In the 1970s and 1980s, Korean sports cartoons were narratives of the main characters. The story of the family is central to the narrative. Family revenge is mainly the central narrative. Plural narratives are serious, and sports act as auxiliary narratives. It uses 'Spocon', a characteristic of Japanese sports cartoons, to show its efforts to get revenge. Therefore, it is extremely rare to use professional knowledge in Korean sports cartoons in the 1970s. Burning Ground uses an escalating system to construct incremental narratives. The three-dimensional narrative is composed by utilizing various narratives of surrounding characters. The use of expertise in football is a feature of the 1990s, and showing this in the 1970s means that the work is ahead of its time. There are limitations of Japanese cartoon theft and plagiarism. However, through this, it provides evidence to examine the relationship between Korea and Japan. And timeless epic speciality must be recognized. The study is meaningful in that it can broaden the perspective of Korean cartoon research in the 1970s.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.181-190
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• 2020

Asura: The City of Madness, which was released in 2017, attracted great attention even prior to its release with the combination of Director Kim Sung-su, and actors, Jung Woo-sung, Hwang Jung-min, Ju Ji-hoon and Kwak Do-won. Faithful to its genre as a crime film of film noir, Asura: The City of Madness created multi-layered issues by the overthrow of the archetypal hero character and variation of the heroic narrative structure drew diverse interpretations among both critics and viewers alike. This study aims at analyzing the heroic narrative structure of Asura: The City of Madness based on Christopher Vogler's "The Hero's Journey" and examining how the universality and typicality of narrative structures as mentioned by Vogler are applied to this film. Although the universal and typical characteristics of all narrative structures cannot be analyzed through Christopher Vogler's The Hero's Journey, five atypical characteristics could be derived from this film that deviate from the universality mentioned by Christopher Vogler by looking at the characteristics of the heroic narrative structure implemented as Han Do-kyung, the leading character and a "hero," proceeds through the 12 stages. This study examines which variations such atypical characteristics brought to the heroic narrative structures in crime films what has changed in audiences' expectations, and how it could work as an alternate narrative.

• Journal of The Korean Association For Science Education
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• v.42 no.2
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• pp.227-238
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• 2022

One of the main roles of the science teacher is to help students become active agents in their learning of science. This study described how an elementary science teacher used students' emotional resources to conduct emotionally responsive teaching and what were the learning outcomes of this approach. The participants of the study included the teacher himself and his 6^th grade students, and emotionally responsive teaching was applied in the science unit of 'Various Living Things and Our Human Lives'. Multiple types of data, including the teacher's teaching logs, video recordings of the lessons in the unit, and interviews with the students, were collected. The data were analyzed qualitatively, and the results were described using a self-study method. The teacher took advantage of three kinds of students' emotional resources (i.e., character drawing, t-shirt design, and raps) to organize his emotionally responsive teaching. The learning outcome included the students' positive emotions and active participation in science lessons, their epistemic practices such as explorations and justifications of knowledge, and the students' reconstruction of knowledge in consideration of their everyday lives. It was suggested that emotionally responsive teaching can promote elementary school students' active participation in science learning, resulting in meaningful learning outcomes in emotional, cognitive, and conceptual aspects. Further studies should thus be conducted to understand the characteristics of emotionally responsive teaching and its detailed teaching strategies.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.49-62
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• 2020

Musicals are plays in which songs and dances are closely aligned with the plot development of the play, and songs and dances develop specific situations and a series of events. In particular, songs perform a fuction of causing the significant changes and emotional ventilation and amplification in the play by specifically capturing the goals and actions the characters are aiming for. This paper focuses on the song that takes on the function of the plot deployment, defines songs that embody actions and stories on stage' as 'action songs' and highlights their role and importance. Action Song is not a clearly defined or prescribed term in Musical. However, 'Action Song' is a song about how a character's desire or motivation for action, given as a 'character song' inserted at the beginning of an integrated musical play, provides a conflict that is a central event of action. In other words, 'action song' means a song that organically combines music and narrative by conveying the action on the stage as a song with lyrics. In addition, it is a song that moves the plot forward and contains a series of events or actions that are the material of the plot. This paper is intended to summarize the concept of'Action song which is not well known to us, and to lay the foundation of the stud, learned the concept, function and efficiency by the analyses of script and music of the musical . As a result, action songs accumulate and amplify tension caused by conflicts and induce the audience to immerse in their emotions. At the same time, the action song multiplies fun and interest of the play while the audience's expectation increased for the next scene after the action song and the progression of the play with single action makes the contents of the drama to be understood clearly.

• Informatization Policy
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• v.29 no.3
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• pp.82-104
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• 2022

One of the interesting social phenomena in short-form video platforms is the hashtag challenge wherein ordinary users are encouraged to create by imitating short viral videos on a particular theme. Despite the increasing popularity of hashtag challenges, theoretical discussion on related user behavior is still very insufficient. In this study, we attempted to examine the impact of micro-influencers in order to understand users' willingness to participate in hashtag challenges. For this purpose, the para-social interaction theory and imitation behavior literature were adopted as key theoretical basis. In an empirical investigation using 243 survey data from TikTok users, our study found that a user's illusion of intimacy with a micro-influencer (i.e., para-social interaction) had significant positive impact on the intention to participate in a hashtag challenge. This study also showed that the degree of para-social interaction in a short-form video platform was determined by both media content-related factors and media character-related factors (i.e., content attractiveness, physical attractiveness, and attitude homophily). Our work in this study provided significant theoretical and practical implications on how to leverage micro-influencers for the success of hashtag challenges in a short-form video platform.

• Journal of the Korea Society of Computer and Information
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• v.14 no.10
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• pp.241-249
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• 2009

Recently, a number of researches related to video annotation and representation have been proposed to analyze video for searching and abstraction. In this paper, we have presented a method to provide the picture elements of conversational participants in video and the enhanced representation of the characters using those elements, collectively called Character-net. Because conversational participants are decided as characters detected in a script holding time, the previous Character-net suffers serious limitation that some listeners could not be detected as the participants. The participants who complete the story in video are very important factor to understand the context of the conversation. The picture elements for detecting the conversational participants consist of six elements as follows: subtitle, scene, the order of appearance, characters' eyes, patterns, and lip motion. In this paper, we present how to use those elements for detecting conversational participants and how to improve the representation of the Character-net. We can detect the conversational participants accurately when the proposed elements combine together and satisfy the special conditions. The experimental evaluation shows that the proposed method brings significant advantages in terms of both improving the detection of the conversational participants and enhancing the representation of Character-net.