• The Journal of the Korea Contents Association
• /
• v.12 no.8
• /
• pp.136-145
• /
• 2012

The purpose of this study is to examine the effect of Korean dramas selection factors for Chinese audiences on the national image of South Korea. The results of this study were as follows: First, selection factors of Korean dramas for Chinese audiences were categorized 'subject and content', 'direction and background music', and 'style of actor or actress'. Among these factors, this study was found that a factor of drama's 'subject and content' had an effect on the selection of Korean dramas for Chinese audiences. Second, 'touristic factor', 'cultural factor', and 'stylistic factor' were examined as a national image factor of South Korea for Chinese audiences. The Chinese audiences surveyed responded positively on 'cultural factor'. The images delivered through the Korean TV dramas have very much influenced the Chinese audiences to view contemporary Korean society as a country of modern and urban elegance. Furthermore, the audiences cognized South Korea is a friendly nation as South Korea and China has a similar cultural background like the Confucian culture. Third, the study found selection factors of Korean dramas for Chinese audiences had positive effects on the national image of South Korean. These positive influences were found on 'touristic factor', 'cultural factor', and 'stylistic factor' From these results, Chinese audiences watch Korean dramas focused on 'subject and content', 'direction and background music', and 'style of actor or actress'. Watching Korean dramas help to create the friendly national image of South Korea. The study shows a possibility to increase an interest and preference on the Korean pop culture.

• International Journal of Contents
• /
• v.17 no.2
• /
• pp.32-40
• /
• 2021

With love as the theme and mythology, ghosts and magic as elements, Korean fantasy TV dramas have set romantic and beautiful plots and attracted a large number of Chinese female audiences. Based on Melodramatic Imagination and Stuart Hall's theory of "encoding/decoding", this paper investigated Chinese female audiences' motives of watching Korean fantasy TV dramas Hotel Druena through the form of focus group interviews to interpret reasons for the popularity of Korean fantasy TV dramas and Chinese women's overall cognition of Korean TV dramas from the perspective of female audiences. Thinking that South Korea's fantasy dramas are good at women's pursuit and desire for emotional elements, women who watch this type of south Korean TV dramas are temporarily relieving pressure of real life, thus satisfying the needs of female gaze and consumption.

• Journal of the Korean Society of Costume
• /
• v.59 no.1
• /
• pp.29-46
• /
• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• International Journal of Contents
• /
• v.18 no.1
• /
• pp.40-55
• /
• 2022

Kung fu films stand out among many types of films and are sought after by a large number of loyal audiences. In order to explore the mystery, we use the theory of uses and gratifications theory to study kung fu films in order to explore the audience's viewing needs of kung fu films In the existing research, most scholars adopt qualitative research and Chinese culture contained in kung fu movies. Few people use quantitative research, and this area of research is almost blank. Therefore, we conducted a quantitative research on kung fu films based on the methodology of uses and gratifications. The questions revolve around: Can kung fu movies meet audiences' needs? What is the purpose of watching a kung fu movie? After analysis with SPSS, interesting results emerged. In the regression analysis, we found that the psychological need for compensation has a positive impact on Viewing satisfaction, while the social need has a significant negative impact on viewing intention. At the end of the article, we also put forward my own solutions. We also hope to provide better suggestions for the development of Chinese kung fu films through my research, so as to make kung fu films more perfect.

• The Journal of the Korea Contents Association
• /
• v.22 no.10
• /
• pp.225-238
• /
• 2022

The purpose of this study is to explore the performance characteristics and laws of the symbol mark design of representative regional history museums in China, as well as the preferences of Chinese audiences for the symbol marks of different types of Chinese regional history museums. First, the performance theme, performance type, and type performance tendency of symbol mark modeling of the regional history museums among the top 100 museums in China are analyzed. Second, design laws based on the interrelationship of performance theme types and design performance types are explored. Finally, the questionnaire survey is carried out to explore preference from the aspects of attention, readability, closeness, originality, aesthetics and comprehensiveness. According to the results, the theme of regional history is the most in terms of themes. As for the modeling performance types, the concrete type and the visualization of Chinese character are the most. According to the content characteristics of different performance types, the following model characteristics are formed: expressing the theme of regional history, architecture, and regional natural ecological environment through the concrete type, expressing the concept through the abstract type, and expressing the concept and implying some building features through the geometric abstract figure. The three forms of the literal type, the concrete type expressing architecture, regional history, and regional natural ecological environment theme content, and the abstract type expressing concept are combined with each other, and expressed through the visualization of character, the mixture of abstract and literal type, the mixture of concrete and abstract type, and the mixture of concrete and abstract literal type in the mixture type. According to the survey results, Chinese audiences have higher preference for the concrete type in the symbol mark performance type and the regional historical theme in the performance content.

• Proceedings of the Korea Contents Association Conference
• /
• 2008.05a
• /
• pp.712-716
• /
• 2008

Traditional Chinese painting, which had formed a language of Chinese peculiar painting art, had begun from modern poster designs and tied up with the range of the various visual art, It is not only to convey information but also show the traditional Chinese culture thinking to audiences through pen, ink and depth of color, Traditional Chinese painting divided the method of painting into ink graphics performance, ink performance technique, Performance of ink brushwork, then according to the performance of classification and analysis of their characteristics.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.25-44
• /
• 2014

In the past 5 years, Chinese film market has witnessed a great development, with the film and animation box hitting records highs. At the same time, TV contents become more and more diverse, and the widespread use of smart phones makes Internet the new popular media today. On this occasion, domestic animation production is growing year by year because of people's growing demand for animation. And the volume of introduced foreign animations is growing as well. But under the same conditions, domestic animation shows obvious lack of competiveness. Chinese traditional stories have rich contents, providing a large amount of animation material. But most animations based on theses contents cannot arouse audiences' interests. This paper mainly analyzes the development situation of traditional story-based Chinese animation whose content is single and low-aged, and then put forward a new solution for Chinese animation development, which is, adding horror elements to traditional stories. And finally, through analyzing four horror animations , this paper further discusses the implementation possibility of this idea.

• The Journal of the Korea Contents Association
• /
• v.16 no.6
• /
• pp.802-813
• /
• 2016

This study examined the Japanese and Chinese journalist's views on anti-Korean wave, who are the public and authoritative discourse producers in Japan and China, respectively. In so doing, the study aims to understand the ways in which the phenomena of anti-Korean wave take place and are diffused. According to the findings, anti-Korean wave in north-east Asia is affected by anti-Korea sentiments that have been induced from historical and political relations as well as cultural conflicts. In specific, the anti-Korea sentiments found in both Japan and China are geopolitical particularity and historical relations function to frame their cultural receptions of Korean pop culture. In other words, the phenomena of anti-Korean wave in both countries do not stem directly from local audiences' either discontents or apathy on Korean pop contents. However, while Japanese anti-Korean wave seems to be mere expressions of anti-Korea sentiments, Chinese sentiments of anti-Korean wave are triggered and transferred by, or articulated with their anti-Korea sentiments.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.449-480
• /
• 2009

In this paper, I tried to study the change of the Chinese performing arts market during the 10th 5year development plan, from year 2001 to year 2005 by both of the quantitative and qualitative analysis, because it's really the time when we need to understand the growing market of chinese culture along with the development of the Chinese cultural industry. During that period, the Chinese government developed the policy to establish a healthy cultural market and strengthen it's cultural power; the parts who product the piece of performing arts including the performing troupes, the theatres and the production companies were consolidated and became familiar to market through the reformation of the organization; and the audience who consume the performing arts and entertainments still shows very Chinese characteristics in the cities and villages. In the village, the audiences invite the troupe to play their local theatre in many occasions of their life according to their traditional beliefs, also somehow to show their wealth. The fact that the local governments and the companies are very important consumer groups in China is also very 'Chinese' characteristics. It means that Chinese performing arts are still more or less under the influence of the political ideas. Nonetheless it is worthy of notice that Chinese performing arts not only develope the new contents in very creative way and also try to learn the knowhow of the excellent items of foreign countries by inviting them to the festivals or organize a co-productions on the basis of the upgraded cultural power through the 10th 5 year development plan.

• Asian Pacific Journal of Cancer Prevention
• /
• v.14 no.2
• /
• pp.1159-1163
• /
• 2013

International meetings on various aspects of cancer- its etiology, its diagnosis, its treatment, its palliation, and its prevention and control are held frequently. Many have similar themes, and many seek and receive the same speakers and audiences. A fundamental question arises: what difference does any individual meeting/congress/conference make or add to our understanding of the relevant issues? While many meetings conduct evaluations at the end of the Congress, few use evaluation as a tool to guide design, implementation, and evaluation of both short and long term impacts, and address the question of "what difference did the Congress make". The International Cancer Control Congresses, which are held biennially in different regions of the world, took the opportunity to use evaluation in this way, and ask the relevant questions. This paper describes that evaluation session of the ICCC4, held in Seoul, Korea in November 2011, which was part of the larger evaluation issue.