• The Journal of the Korea Contents Association
• /
• v.20 no.10
• /
• pp.109-118
• /
• 2020

In this study, the selection attributes of contemporary dance audience were constructed based on prior study and the selection attributes of contemporary dance performance were identified through EFA(Exploratory Factor Analysis). Therefore, Six attributes were derived: physical evidence, tickets, people, information, product, and reputation. Based on these attributes, the selected attributes were identified through 'ETPB(Extended Theory of Planned Behavior)' to see if they affect ticket purchase behavior. In result, Among the selection attributes of contemporary dance performances, three attributes of reputation, people and product influenced the audience's attitude, while only product and human attributes influenced the purchase intention of tickets. Among the variables of ETPB to enhance the ability to purchase intention of tickets, audience attitude, perceive behavior control, and prior knowledge have had a positive effect on purchase intention of tickets, except for subjective norm. Therefore, it is meaningful that this study presented and verified empirically the attributes of select centered on visitors, which can improve the intention of purchasing tickets for contemporary dance performances.

• The Journal of the Korea Contents Association
• /
• v.19 no.11
• /
• pp.33-45
• /
• 2019

The operation of the theater's seasonal program is an important service for the stability of theater management and audience development. However, the domestic theater season system has been around for 20 years, but still has not been established in practice compared to overseas theaters, and academic research is also lacking. Therefore, in this study, the government wanted to draw out elements of 'season system' program services and additional services provided by domestic and foreign theaters, and to calculate the importance of each attribute to suggest a plan to operate a seasonal service suitable for the actual conditions in Korea. Thus, through the analysis of seven theater seasonal programs, a study model consisting of two higher, seven median and 23 lower factors was derived. Based on this survey, 14 theater experts were asked to compare the priorities of each factor. Studies have shown that the composition of packages and works in program services is important, and that monetary factors are important in additional services. In other words, an important element in the seasonal system is judged to be the need to upgrade program services and selectively operate a small number of additional services with large audience needs to attract audiences.

• The Journal of the Korea Contents Association
• /
• v.19 no.7
• /
• pp.47-53
• /
• 2019

This study is an analysis of endings of films and open endings. Particularly, the key of this study is the investigation of the definition and interpretation of open endings. For this purpose, the 'ending' was defined first, and subsequently, endings were divided into 'closed' and 'open' endings with a goal pursuit model of David Howard and Robert McKee. Thus, it was found in this study that the thoughts of an audience as well as the intention of a creator are crucial in defining an ending. Although a story is designed by a creator, its interpretation is at the disposal of an audience in the end, and the audience may take an ending differently depending on their value system or interest in the story, which eventually leads to their own definition of the ending. For sure, a traditional fact is that most of films including those mentioned to have open endings have closed endings, and such a structure of stories will not change significantly in the future. However, the ending of a film designed to have a closed ending may be changed to be open ended depending on the intention of a creator or the thoughts of an audience, and furthermore, the intention of an open ending may not be readily accepted by an audience.

• Trans-
• /
• v.12
• /
• pp.107-140
• /
• 2022

This study examines the concept and characteristics of immersive theatres through previous studies. Immersive Theatres can be understood as a form of performance that breaks the boundaries between the stage and the auditorium in various spaces so that the audience can actively participate in the performance or immerse themselves sensibly. However, since it absorbs various art forms and continues to change and develop, it is important to recognize the concept by grasping its characteristics as an immersive experience rather than defining it as one. Based on the theoretical background of the concept and characteristics of the theatrical producers and immersive theatres, the producing immersive theatre < The Great Gatsby> is analyzed to derive differences between the immersive theatre and the general performances. In conclusion, it is important to recognize that immersive theatres have audiences at the center of all aesthetic performance environments. The role and position of the audience as a "passive consumer" change to an "active and creative consumer" in immersive theatres where the audience-centered immersive environment and experience are the key, and it was found that not only producers but also the creatives should change their perception of the audience and reflect it in the producing.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.8
• /
• pp.107-116
• /
• 2021

In recent years, the research on audience satisfaction after watching programs has been carried out in various fields. However, there is no precedent for the study of simply analyzing the influencing factors of audience satisfaction with the newly established CCTV-9 channel. For CCTV-9, how to explore the strategy of industrial development based on the needs of the audience in the era of big data is a very important part. This article exploratively focuses on the influencing factors related to CCTV-9 audience satisfaction. Using questionnaires, 101 samples of the satisfaction with the channel of men and women of different ages, education backgrounds, majors, and incomes were collected to test, and 9 hypotheses were tentatively proposed as relevant influencing factors of channel satisfaction. Through empirical analysis, this research searches for the determinants. The reliability and validity of the measurement were properly analyzed, and all hypotheses were statistically tested. The empirical results show that: subject matter, program format, program scheduling, program broadcast time, channel advertising, simulcast series of documentaries, diversified communication platforms, brand image packaging and audience satisfaction are significantly positively correlated.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.2
• /
• pp.79-91
• /
• 2019

In the entertainment industry, risk management is crucial for securing competitiveness due to the risk of investment. The competitiveness of contents is reinforced when external factors such as industrial environment and internal factors centering on involving mechanism are simultaneously provided. The involving mechanism is a form of cognitive response behavior of the audience and occurs through signal processing of the brain when watching the image contents. The signal processing of the brain related to the contents watching is mainly performed in the working memory area, and in the case of the captivating movie, the information other than the contents transmitted to the audience is blocked to generate a temporary dissociation state. A dissociation state similar to a symptom such as hypnosis or amnesia occurs when the audience's level of involving is high. On the other hand, contents information in which the audience is concentrating his attention is used intensively for constructing future thinking through an episodic buffer while the inflow of external information is relatively blocked or delayed. The spectator's future thinking configuration takes the form of a hypothesis-forming activity and is based on the predictability of the brain. When these hypothesized behaviors correspond to the problem solving simulation of story and predictability which is an evolutionary function of the brain, the audience' s brain is involved in the contents at a high level. In order for the act to be effective, the factors such as the background of the hypothesis, the subject of the hypothesis, the internal information of the person, the type and position and quantity of the hypothesis information, and the hypothesis relevance and type of information are important. Based on these factors, analysis of the Kim Eun Sook Drama 'Goblin' shows that the above elements are operated in a very organic and meaningful way.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.4
• /
• pp.93-106
• /
• 2019

Persona is an actor's external ego constructed by playing various roles, and his/her another self-portrait in the eyes of the audience. This study was conducted to analyze persona identity containing core persona(CP) and to gain implications for the growth strategy of the actress Son Ye-jin called "melo queen" by verifying consistency between the CP and audience responses to her starring works of the past. According to the related theories and models, the persona was firstly set as image, visuality, personality and consistency, and it was used to extract and sort descriptive texts about Son related news articles in the last 5 years of the six major Korean newspapers using the content analysis method. After that, we analyzed the number of viewers of her movies and the audience share of her dramas by genre. As a result, Son's persona components were found to have a proportion for 54.2% images (34.0% for melo and romance images, 20.2% for non-melo and romance images), 25.6% for visibility, 13.8% for consistency, and 6.4% for personality. Her CP was derived from a melo and romance image. Comparing this with the audience reaction, the melo romance genre dominated and showed consistency in the drama, but in the case of the film, the non-melo romance was dominant and did not match each other. The results were attributed to a wide gap between dramas and movies in terms of key viewers, box office factors, degree of genre hybridity and experimentality. Therefore, Son should actively use her CP in the drama and challenge the various roles in order to expand her persona spectrum in the film.

• Journal of Service Research and Studies
• /
• v.13 no.4
• /
• pp.47-69
• /
• 2023

The main purpose of this study is to examine the mediating effects of performance satisfaction and audience loyalty through the motivation and community satisfaction of non-profit performance attendees in the local community. Motivations were examined by distinguishing between intrinsic and extrinsic factors to understand the profound desires of the audience. A survey was conducted targeting attendees who had experienced non-profit performances in the Jeju area over the past year to gather data. Ultimately, the survey responses from 363 participants were used as the basis for analysis. The results of the analysis indicated that higher levels of intrinsic and extrinsic motivations generally led to greater satisfaction and loyalty towards performances (H1, H2, H3). However, extrinsic motivation did not directly influence loyalty (H4). Nevertheless, both types of motivations were found to positively influence loyalty through performance satisfaction (H5, H8). While satisfaction with performances did not have a direct impact on community satisfaction (H6), audience loyalty was found to have a positive influence on community satisfaction (H7). Regarding motivations, performance satisfaction did not mediate the relationship between motivations and community satisfaction (H9). In the case of audience loyalty, intrinsic motivation showed mediating effects, while extrinsic motivation did not (H10). The process of motivation-satisfaction-loyalty-community satisfaction demonstrated a sequential pathway (H11). In conclusion, if local residents show interest and participate in non-profit performances, they develop a positive perception of the respective community. Therefore, performances provided at the local level should be recognized as crucial elements for the development of the community.

• The Journal of the Korea Contents Association
• /
• v.9 no.12
• /
• pp.121-129
• /
• 2009

This research tries to interpret Montage der Assoziation shown in animations. Eisenstein's 'Montage' is "Montage der Assoziation" where a variety of Montage pieces are combined, symbolizing one aggregate image. Though influenced by Russian Formalist Film Theory and Kuleshov, Pudivkin and Rudolf Amheim, by contraries, he recognized Montage as an issue between an artist and the audience and an anti-representation apparatus. Especially, he developed the mind action issue previously advocated by Eikhenbaum and deemed the audience's role an essential part in completing a film. Montage expression implied in Eisenstein's theory can be regarded as attraction, collision, and dynamic and intellectual Montage. However, with an in-depth approach, Montage der Assoziation can be interpreted by repetitive, relative and juxtaposed analysis. The reason is that animation Montage is a visual action which takes place in a row among scenes and in the frame. This research addresses communications with the audience which are attained by Montage der Assoziation. In other words, this research makes an in-depth access to how Montage der Assoziation appears and communicates with the audience in an animation work.

• Korean Journal of Adult Nursing
• /
• v.14 no.2
• /
• pp.276-286
• /
• 2002

Purpose: The concept of embarrassment as an unpleasant emotion is important in caring for those who are in the continuum of illness and health requiring body care and facing sexual problems. In spite of its nursing implication, embarrassment has not been focused in nursing research. Therefore, the purpose of this paper is to develope a conceptual analysis of embarrassment. This analysis would help to understand comprehensively an embarrassing situation in which an intimate relationship between nurse and patient regarding body care of the patient could develope. Futhermore, it would be a basis for developing strategies for prevention of embarrassment which could lead for both patient and nurse to emotionally vulnerable situation because of their failure of self-presentation (impression management). Method: The concept analysis model suggested by Walker and Avant (1988) is used to clarify what is meant by the term 'embarrassment'. Result: This analysis defines the attributes of embarrassment such as follows. First, embarrassment is often attributed to situational factors interrupting a smooth interaction such as intimacy, confusion, vulnerability, exposure of interaction and characteristics of audience. Second, embarrassment is closely related with cognitive factor such as fear of losing face resulted from a behaviour being out of line. Third, embarrassment is closely associated with dispositional factor such as embarrassability. Fourth, embarrassment is an unpleasant and unwanted emotion arising reactively after an interaction had occurred. Fifth, embarrassment encloses physical, physiological and behavioral aspects such as a variety of unique and easily noticeable reactions and a pattern of verbal and non-verbal behaviour for coping in an embarrassing situation. The antecedents were normally socialized adolescents with normal cognitive ability, concern of losing face, embarrassability, embarrassing events related with situational intimacy, confusion, vulnerability, exposure of interaction and characteristics of audience, physical, behavioral blunders resulting in a failure of impression management. The consequences were an emotional coping behaviour, audience's embarrassment responses, and verbal and non-verbal coping strategies of interactional participants. Conclusion: It is hoped that this analysis will stimulate further exploration of this concept and study for developing systematic assessment and nursing practice that diminishes embarrassment of interactional participants.