• Journal of Intelligence and Information Systems
• /
• v.24 no.4
• /
• pp.33-49
• /
• 2018

The impact of TV Drama success on TV Rating and the channel promotion effectiveness is very high. The cultural and business impact has been also demonstrated through the Korean Wave. Therefore, the early prediction of the blockbuster success of TV Drama is very important from the strategic perspective of the media industry. Previous studies have tried to predict the audience ratings and success of drama based on various methods. However, most of the studies have made simple predictions using intuitive methods such as the main actor and time zone. These studies have limitations in predicting. In this study, we propose a model for predicting the popularity of drama by analyzing the customer's viewing pattern based on various theories. This is not only a theoretical contribution but also has a contribution from the practical point of view that can be used in actual broadcasting companies. In this study, we collected data of 280 TV mini-series dramas, broadcasted over the terrestrial channels for 10 years from 2003 to 2012. From the data, we selected the most highly ranked and the least highly ranked 45 TV drama and analyzed the viewing patterns of them by 11-step. The various assumptions and conditions for modeling are based on existing studies, or by the opinions of actual broadcasters and by data mining techniques. Then, we developed a prediction model by measuring the viewing-time distance (difference) using Euclidean and Correlation method, which is termed in our study similarity (the sum of distance). Through the similarity measure, we predicted the success of dramas from the viewer's initial viewing-time pattern distribution using 1~5 episodes. In order to confirm that the model is shaken according to the measurement method, various distance measurement methods were applied and the model was checked for its dryness. And when the model was established, we could make a more predictive model using a grid search. Furthermore, we classified the viewers who had watched TV drama more than 70% of the total airtime as the "passionate viewer" when a new drama is broadcasted. Then we compared the drama's passionate viewer percentage the most highly ranked and the least highly ranked dramas. So that we can determine the possibility of blockbuster TV mini-series. We find that the initial viewing-time pattern is the key factor for the prediction of blockbuster dramas. From our model, block-buster dramas were correctly classified with the 75.47% accuracy with the initial viewing-time pattern analysis. This paper shows high prediction rate while suggesting audience rating method different from existing ones. Currently, broadcasters rely heavily on some famous actors called so-called star systems, so they are in more severe competition than ever due to rising production costs of broadcasting programs, long-term recession, aggressive investment in comprehensive programming channels and large corporations. Everyone is in a financially difficult situation. The basic revenue model of these broadcasters is advertising, and the execution of advertising is based on audience rating as a basic index. In the drama, there is uncertainty in the drama market that it is difficult to forecast the demand due to the nature of the commodity, while the drama market has a high financial contribution in the success of various contents of the broadcasting company. Therefore, to minimize the risk of failure. Thus, by analyzing the distribution of the first-time viewing time, it can be a practical help to establish a response strategy (organization/ marketing/story change, etc.) of the related company. Also, in this paper, we found that the behavior of the audience is crucial to the success of the program. In this paper, we define TV viewing as a measure of how enthusiastically watching TV is watched. We can predict the success of the program successfully by calculating the loyalty of the customer with the hot blood. This way of calculating loyalty can also be used to calculate loyalty to various platforms. It can also be used for marketing programs such as highlights, script previews, making movies, characters, games, and other marketing projects.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.4
• /
• pp.152-171
• /
• 2009

The Dancheong(丹靑) of the main building of Mihwangsa Buddhist Temple(美黃寺) in Haenam(海南) is the leading work of the Jeolla Dancheong style, which was created in the 18th century and has been passed down to the early modern days, and boasts its excellence and originality. On the outside, one can only see the traces of the Dancheong due to the colors that fell off and deteriorated severely. On the inside, however, the general Dancheong pattern is accompanied by the painting of 1,000 Buddhas(千佛圖), which is hardly found in other Buddhist temples, and the Arahan painting, which is truly magnificent in technique and can pass as an independent painting. The Dancheong also has unique methodological characteristics that can't be found in other Dancheong works such as the painting and attaching technique. The Dancheong inside is estimated to have been created in 1754 considering the records of "Dalmasan Mihwangsasa Daebeopdang Jungsusangryangmun(達摩山美黃寺大法堂重修上樑文)", the calligraphical writings of "Mudeungsanindanhwakya(無等山人丹?也)"and "Geonryungshipgu(乾隆十九)" left in the Jungryang, and the style characteristics reflected in the Dancheong patterns and the painting of 1,000 Buddhas. The fact that there are no traces of re-Dancheong also supports the estimation that the Dancheong was created in the absolute age of 1754. The absolute age will be the reference of deciding the chronological years of Dancheong patterns and be helpful in examining the characteristics and changes by the periods. There were certain style characteristics in Dancheong by the periods and regions. The Dancheong of Jeolla region also had its own style, which includes the tendency of finishing with two- or three-fold green belts without giving meokdanggi to the meoricho and the huge jar decoration of huigol. Treating the baetbadak of all materials, whether it's Geumdancheong or morodancheong, with lines of certain thickness and colors is another style of Jeolla Dancheong from the 18th to the 20th century. The Dancheong of the Geukrakbojeon(極樂寶殿) of Cheoneunsa Buddhist Temple and Daewoongbojeon(大雄寶殿) of Naesosa Buddhist Temple in Jeolla is especially noteworthy in that it bears similar patterns and techniques to that of the main building of Mihwangsa Buddhist Temple in addition to the characteristics mentioned above. The Dancheong of Mihwangsa Buddhist Temple must have exerted so great influences on that of the two temples that it's called "the style of Mihwangsa Buddhist Temple."When adopting a broader point of view, it can be classified as one of the Dancheong styles of Jeolla. The common icons and techniques found in the Dancheong of Mihwangsa, Cheoneunsa, and Naesosa Buddhist Temple provide some clues about the influential relationships among painters of the days. They may have been created by the painters of the same school or the painters affected by those who created the Dancheong of Mihwangsa Buddhist Temple.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.98
• /
• pp.154-175
• /
• 2020

Most Korean Buddhist paintings from the late Joseon period were produced through collaborative projects (bulsa) between clans of Buddhist monks and monk artists (hwaseung), in which the monk clans would select themes and iconography for works that would then be produced by the artists and their school. Thus, any attempt to understand the Buddhist paintings of this period must consider not only the stylistic characteristics of the monk artists, but also the conditions at the respective temple at the time of production. Applying this methodology, this paper examines the collaboration between the Buhyu monk clan and the monk artist Uigyeom and his fellow artists (hereinafter, the "Uigyeom School") that took place in Honam (湖南) and surrounding areas in the eighteenth century. In particular, the paper reveals the strong influence that the Buhyu clan exerted on paintings that the Uigyeom School produced in 1724 and 1725 at Songgwangsa Temple, the clan's main temple. Following the paintings for Songgwangsa Temple, the Uigyeom School actively participated in similar projects at regional temples under the auspices of the Buhyu clan in Honam, Hoseo (湖西), and Yeongnam (嶺南). Consequently, the Buhyu clan granted Uigyeom several honorable titles-including "Hoseon" (毫仙), "Jonsuk" (尊宿), and "Daejeonggyeong" (大正經)-that were rarely conferred to a monk artist. Such acclaim helped Uigyeom's style of Buddhist painting to become widespread throughout the three southern provinces of Korea. The paintings for Songgwangsa Temple exemplify how the Buhyu clan and Uigyeom School collaborated to visualize the thoughts and philosophies of the Buhyu clan. For the Uigyeom School, this project served as the foundation for building the reputation and esteem of Uigyeom, who became one of the most esteemed and influential monk artists of the late Joseon period. As such, the paintings created for Songgwangsa Temple in 1724 and 1725 have great significance not only for Korean Buddhism, but also for art history in general.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.1
• /
• pp.14-27
• /
• 2011

The study reviewed the content and the meaning of the present Yeoju Palkyung(eight scenery) through analyzing and interpreting the Palkyung poems, old maps and paintings, and classic materials transmitted in Yeoju area, and investigated the transmission process. Although five scenes of the Yeoju Palkyungs illustrate abstract landscapes derived from the Sosang Palkyung, there are mixed with local sceneries showing famous historical ruins in the area and local life of the Yeogang(驪江: river). Seunggyeong(勝景) of Yeoju, highlighted in old paintings, has been emphasized through duplication the object and the view point field of Yeoju Palgyeong(驪州八詠), which is usually symbolized to sailing boats along the Yeogang, forests around Cheongshimru, and the layer Jeontap and Maam above Shinreuksa(神勒寺) Dongdae(東臺). It is quite undoubtful that the Yeoju Palyong of Choi Sukjeong and Seo Geojung is the copy of the present Yeoju Palkyung, but the present version is found to be all included in the Cheonggijeongsipyoung(淸奇亭十詠) of Cho Moonsu since the 17th Century, which shows that the Cheonggijeongsipyoung is viewed that it played an important role for the transmission of the Yeoju Palkyung. Also, it. is concluded that the Yeoju Palyong recorded in Yeojidoseo(與地圖書) is the same landscape collecting with the presend Yeoju Palkyung, which would be dated back at least until the mid 18th Century. In addition, given the fact that the studied old maps show Eight scenery, Sachoneohwa, Shinreukmojong, Yeontanguibum, Paldaejangrim, Yangdonagan, Ibanchungam, Pasagwau, and Yongmoonjeukchui, recorded consistently in the same time order, the eight scenic points in the old maps had been apparently established as the typical copy of the Yeoju Palkyung in the 18th Century. Therefore, the transmission route of the Yeoju Palkyung follows two separate versions, one starting from the Yeoju Palyong(Choi Sukjeung, Seo Geojeong) to Cheonggijeongpalyong to Yeoju Palyoung(Yeojidoseo) to the present. Yeoju Palkyung, and the other from the Yeoju Palyoung Geumsa Palyong(金沙八詠) to the old map Palkyung to the Yeoju Palkyung(the late 18th C). These two transmission processes have their own cultural sceneries having the same origin, which are different only in perspective which attempts to cover the representative scenic landscapes including Yeoju and Geumsa.

• The Journal of Korean Philosophical History
• /
• no.23
• /
• pp.317-347
• /
• 2008

Huang Gan(1152 - 1220, pen-name Mian-zhai) was a famous scholar of Zhu-zi xue in the Southern Song period. Zhu-zi xue was also called Daoxue(道學), because it was based on the Cheng-Zhu xue(程朱學) and had very severe idea of Daotong(道統). Therefore, Zhu-zi xue emphasized practical movements of spreading Confucianism. The view of the Daotong(道統) developed in two aspects: protection of Confucianism and exclusion of Daoism Buddhism. Zhu Xi completed the idea of Daotong(道統), and his disciples, especially Huang Gan, continued his efforts. Zhu Xi's disciples searched the ultimate teaching of Confucianism through studying Four-books(四書). In due of their effort, Zhu-zi xue played a reading role in those academic fields. Huang Gan look upon himself as the successor to Zhu-zi xue. He expounded and missionized Zhu Xi's philosophical thought. In his later years, he accepted many students and passed the Zhu Xi's thought on to his students. He fostered "Jin-hua school(金華學派)"-He Ji(何基), the representative of this school. There is the relation of thought on the theory of knowledge and learning centering around Daotong between Huang Gan and Jin-hua school(金華學派). Especially, the most schools leading the academic society of Yuan period founded their thought on Huang Gan's. And it explained Huang Gan's historical influence and contributions to the Zhu-zi xue in the Yuan period.

• (The)Study of the Eastern Classic
• /
• no.54
• /
• pp.319-348
• /
• 2014

This paper examines the centered on the Ritualized of Royal archery as a national event led to the demonstration of military rites was settled during the early Chosun Dynasty. And aims at considering of traditional of archery a Royal family and high position military people's. It was maintained as an system for both stability of royal family and centralization of government authority. As we know, since ancient times, the performance number of shooting arrows had been reduced in the early Chosun Dynasty. And one more reason is, traditionally Royal family liked shooting archery. For example, King Taejong was very openly shooting archery to inside palace and outside field. He says the archery is a principal element of military persons. Anyhow, to the King Jungjong, many Kings played shooting archery. However, at that time, the Royal archery came from ancient Korea and Kingdom of Koryo. In this historical background, Military rites will be established not just from ancient China. It specially called five manner of rituals. However, the rule of Confucianism to be Government police, archery ritual was declined. It's involved Curriculum of education. And this is related to the who got the new group of government authority. They are young confucianist. From there, the Confucianism manners, were to change of traditional of archery in Early Chosun Dynasty.

• (The)Study of the Eastern Classic
• /
• no.69
• /
• pp.205-232
• /
• 2017

In the former half of the 18th century, For this period the literary people who led the literature of Nam'in were Sadaebu named the so-called Munoepa. There were Gang Pak(姜樸), Lee In-bok(李仁復), Lee Jung-hwan, Oh Gwang-un(吳光運), and Gang Pil-shin(姜必愼) in Munoepa(門外派). All these people as Sadaebu of Nam'in kept company with families of each other, had close relations from early childhood, and shared with same opinions in various ways like politics, culture, etc. They had intimate relationships not only in politics but also in literature, and primarily acted their part regarding the development of literary circles in the first half of the 18th century. Many individual poets who achieved the outstanding literary accomplishment appeared in the late period of Joseon Dynasty, especially in the eighteenth and nineteenth centuries. They actively made progress in their literary works with Sisa. The poets in similar positions had the Sisa to show their literary ability and check on their view about the literature. They briskly tried to express their own literary intention in activities of Sisa. Gang Pil-shin is a literary representative of the late period of Joseon Dynasty Nam'in. Through the exchange relationship of Gang Pil-shin, we can confirm certain aspects of his literary world. People who have tied up with Gang Pil-shin are largely divided into three. First, it is a literary person in Geungi Nam'in literati, typified by Backryeonsidan, Jinju Gang family, Gyeongsang Provinces area that was a place of residence. The exchanges of Gang Pil-shin were done via a poetry club. a poetry club was basically conducted mainly on relatives such as Gang Pak. However, the members of a poetry club changed according to the area where you live. Gang Pil-shin made a poetry club while coming back and forth between Seoul and Gyeongsang Provinces. This means that Gang Pil-shin also had special attention as Geungi Nam'in (近畿 南人), but also had a positive nature as Yeongnam south person. A closer look at what linguistics of Gang Pil-shin Geungi Nam'in and Yeongnam Nam'in had special characteristics late period of Joseon Dynasty It is possible to confirm the special characteristics of Seoul and the local literary exchange. For this reason, it seems that more detailed examination of the literature of Gang Pil-shin is necessary.

• The Journal of Korean Philosophical History
• /
• no.56
• /
• pp.9-46
• /
• 2018

Seongdeokdaewang-Shinjong, the 29th National Treasure, is highly valuable as a study material in various aspects including the histories of ideology, Buddhism, politics, art-craft, Chinese character study, calligraphy, epigraphy and so on of the mid-time of Shinra. Compared with the people's interest in the Shinjong, however, the studies on the words carved on it have not been yet deepened. Such studies have not been yet overcoming the phase of decoding and translation of the words. Today, it is required to analyze and study the words systematically. This article starts with such critical mind. That is why the subtitle of this article is Research on the Background of Thoughts considering that this study must be followed by its 2nd study. This study has totally reviewed the decoding and annotation works that have been done so far. Byeonryeomun (騈儷文: a writing style of Chinese character) has been also studied on its written patterns. As a result, approximately 20 problems have been found and corrected. Especially, such key phrases as '工匠?模' and '日月?暉' have been translated in a new way to spotlight the importance of translation of the carved words. The words carved on the Shinjong are highly valuable to study in the aspect of ideology history. The words fully show not only Buddhist thoughts, Confucian thoughts and Taoist thoughts but also Korea's own unique thoughts, which are all melted in the words without any obstacle to each other. In general, they are highly philosophical words. The words are unique especially in the aspect: They give a meaning to the Shinjong based on the keyword Won-Gong (圓空: circle and empty) and suggest the key point of Buddhist thoughts and governing philosophy altogether. That is, they imply that King Seongdeok's political ideology and governing principle are connected to Pungryudo (風流道), Korea's own unique philosophy. This implication is key evidence that makes it possible to trace the context of transmission of Pungryudo. You should not miss also the phrases implying that there was a big argument between reform group based on Confucian thoughts and conservative group based on Korea's own unique thoughts.

• (The)Study of the Eastern Classic
• /
• no.59
• /
• pp.157-181
• /
• 2015

This thesis pursued exchanges of Hwangsang with Chusa Family, who existed in the 19th century. What was Chusa to Hwangsang and what was Hwangsang to Chusa? The answer is concluded to the question of which existence Chusa was to Hwangsang but not of which existence Hwangsang was to Chusa. However, disregarding social positions of the nobles and the commoners, brothers of Chusa also cherished Hwangsang and respectfully treated him as a poet at all times. Chusa was a critic who recognized Hwangsang as a successor to Dasan poetics and became a patron of the literary circles on the other hand. Hwangsang's Chinese poems related to Chusa Family are counted as 45 JE 52 SU in total which consist of 31 JE 34 SU in "CHIWONYUGO" and 14 JE 18 SU in "CHIWONSOGO", On the other hand, Chinese poems which Chusa wrote for Hwangsang are only a few pieces shown in "WANDANGJEONJIP". Hwangsang first met three brothers including Chusa in September 1853 when he came up to the capital for the 4th time. Jeong Hak-yeon, the oldest son of Dasan Jeang Yak-yong, played an important role in the whole process that Hwangsang met Chusa's three brothers and was recognized as a poet. As the oldest son of Dasan Family, Jeong Hak-yeon made efforts in various ways for Hwangsang. Hwangsang tried his efforts to exhibit his ability as a poet to Chusa and to get Chusa's introduction of his poetical works. Considering Chusa's importance in then literary circles, the introduction seemed to reflect recognition by the literary circles in the metropolis and it also showed that Hwangsang was no more than an obscure poet in the provincial area. Poetical composition of Hwangsang for Chusa three brothers commonly contained friendship, intimacy and special respect at all times. Seeing from exchange process between Hwangsang and Dasan Family or Chusa Family, it is found that mutual exchanges were actively made in the mid-nineteenth century overcoming regional differentiation between capital and province, or feudalism class distinction of social positions of the nobles and the commoners.

• (The)Study of the Eastern Classic
• /
• no.49
• /
• pp.357-392
• /
• 2012

An author is bound to reflect his or her own thinking and inclination in his or her works. The previous studies on Changam(蒼巖), however, mostly discussed the aesthetics in the forms of his introductions and works, hardly addressing his thinking reflected in his works. Recognizing that he had the "reactionism tendency" unlike the Bukhak-School(北學派), which was the cultural mainstream of the days, this study examined the specific patterns of the reactionism calligraphy style in his learning and calligraphy processes and works. He loved to write xing-cao-shu(行草書) with a focus on the materials written in one's own calligraphy, but he also emphasized that one should obtain the force of his or her calligraphy style by mastering kai shu before calligraphy xing cao shu. He thus left a lot of works in the xiao kai(小楷) of the Wang Xzhi(王羲之) calligraphy style throughout his life, which is attributed to the influences of the calligraphers of dong-guk-jin-che(東國眞體) in the latter half of Joseon(朝鮮) and those of Lee Gwang-sa(李匡師), his master in spirit. He is distinguished from the other calligraphers of the times in that he made lifelong efforts to compensate for the lacking stroke of the pen in the model calligraphy of Wang Xzhi. In the calligraphy theory, he put importance on the traditional method of Han-Wei(漢魏) and took Cai Yong(蔡邕) and Zhong Yao(鍾繇) as the fundamentals. For da kai(大楷), he constantly practiced the with the stroke of the pen by added to it, the letters of Wei(魏) Wudi(武帝), by Yan Zhenqing(顔眞卿), and letters of Kim Saeng(金生). His late works using the intended conception of and , in particular, present his unique calligraphy style that added the crooked forms of to the shapes of characters of that were in the kai-shu(楷書) style. It is a limitation that a considerable number of calligraphy materials Changam studied or consulted were either reprint copy or block book rather than original rubbing edition due to time and space restrictions. However, it is also true that those restrictions made an important contribution to his creation of his unique calligraphy style with deep local colors at the result of his constant efforts.