• Information Systems Review
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• v.18 no.3
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• pp.51-71
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• 2016

Tourism products are intangible goods. Given this nature, tourist experience should be recorded and visualized through media, such as pictures, videos, and souvenir. Online platforms played the role of media given the growth of information and communication technology. Tourists post their travels for real-time documentation of their experiences, but they also tend to reminisce about past experiences that they posted on social media. Social media is not only a channel of self-presentation or a means of communication with other people, but it also serves as an archive of electronic records to bring back memories. Given this finding, we investigated the impact of social media on the autobiographical memory (recollection and vividness) of tourists and their intention to revisit a certain destination. The results showed social media interface and the impact of display quality on the recollection and vivid memory. The predictor of memory recollection of tourists is intention to revisit a destination. Social media is considered an archive of travel memory that indulges people to reminisce. Theoretical and practical implications were provided based on these results.

• Journal of Korea Society of Industrial Information Systems
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• v.19 no.2
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• pp.119-135
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• 2014

This study is aimed at understanding the factors behind deciding to accept a social network service (SNS) from the viewpoint of tourists who are users of tourism SNS. The study also seeks to clarify the effects these deduced factors have on the intention of users to continuously use SNS. To this end, individual properties (such as self-efficacy, socio-cultural effects, social presence and people's innovativeness), systematic properties (like system quality and information quality)and usefulness/availability were used as factors with regard to the decision to accept tourism SNS based on previous studies and efforts were made to structurally clarify the effects of such previous factors on people's intention to continuously use SNS through perceived value and satisfaction. SNS had significant effects on satisfaction and, furthermore, significantly affected tourists' intention to continuously use it. Based on such study results, factors behind deciding to accept SNS from the viewpoint of tourists affected customers' perceived value and satisfaction and ultimately affected their intention to continuously use SNS. To achieve the purpose of the study, a survey was conducted on about 250 Busan residents who had used SNS in relation to tourist activities, such as exhibitions, conventions, accommodation, trips, aviation service and transportation. According to an empirical study, factors behind deciding to accept tourism SNS, including individual properties, systematic properties and usefulness/availability had statistically significant effects on perceived value. The usefulness/availability factor had the largest influence, in particular, followed by the systematic factor and individual factor. The value perceived in the process of using tourism SNS had significant effects on satisfaction and, furthermore, significantly affected tourists' intention to continuously use it. Based on such study results, factors behind deciding to accept SNS from the viewpoint of tourists affected customers' perceived value and satisfaction and ultimately affected their intention to continuously use SNS.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.