• Journal of Digital Contents Society
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• v.19 no.8
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• pp.1443-1451
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• 2018

The genre of digital games is not a fixed and invariable system, but a generative system of revisions and changes. The purpose of this study is to define a concept of alternative genre for digital games. The alternative genre of digital games should be presented in combinations of various genre elements and reflected the genre awareness of the user. In this context, user tags of the game transform the classical genre concept into a family resemblance based categorization and establish a user-driven bottom-up genre system. User tags as the form of alternative genre can spread the 'small' genre through multiplicity of genre elements and strengthen the communicative function of the genre.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.91-102
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• 2016

This paper investigates the relationship between the Pay TV subscriber's genre preference and VOD purchase by analyzing actual purchase data of movie VOD of IPTV subscribers for 8 months. The result shows as follows. First, in case of purchasing movie contents below 4000 won, user's genre preference was higher than that of using contents over 4,000 won. This means the subscribers tend to follow their genre preference when the mass-typed recommendation is limited. Second, those who purchase foreign contents show higher genre preference than those who purchase domestic movies. Third, subscribers who purchase more frequently and much more tend to use more diverse genres. Heavy users or those who have higher willingness to pay would consume more diverse contents. It implies that VOD use would increase by supplying the personal recommendation service based on the subscriber's genre preference.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.145-151
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• 2011

This study assumed the competitive structure based on genre classification for Korean online game contents market, and carried out the analysis on the degree and characteristics of the competition that appear differently in each sub market classified according to the genre. First, to analyze the market power of the rank 1 and 2 game contents in each genre, using the play time share ratio and standard deviation statistics values in the genre, ANOVA analysis and Cluster analysis were carried out for each genre. According to ANOVA analysis result, in the rank 1 game share ratio in each genre, there was a relationship of 'FPS/Racing > RST/Sports > Poker > Go-stop > RPG > Arcade > Board', and in the play time total share ratio of rank 1 and 2 games, the relationship of 'RTS > FPS/Racing > Sports > RPG > Go-stop > Poker > Arcade > Board' was verified. And in Cluster analysis, the groups of the genres with the degree of market power tendency and the variability at similar level were classified and stated.

• The Journal of the Korea Contents Association
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• v.17 no.6
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• pp.153-168
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• 2017

Existing researches on movie genre have been focusing on the relationship between a specific genre and performance of a movie. However, most of films cross into multiple genres and new approach is needed for analyzing a genre network. In this study social network analysis was used to analyze the genre centrality and its relationship with movie performance by developing a genre network, i.e. network among multiple genres constructed via genre co-occurrence pattern in a specific movie. Three index of genre centrality, eigenvector centrality, degree centrality, and bonacich power centrality, were tested for the valued genre network. Results showed that the relationship between genre centrality and movie performance appeared to be inverted U-shaped. This empirical finding is in line with the theory of ambidexterity which emphasizes the balance of exploration and exploitation. In addition, this study can provide practical implications for movie producers, distributors, and theaters that need to develop genre strategies.

• Archives of design research
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• v.16 no.3
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• pp.351-360
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• 2003

The concept of genre used to be applied to classify the fine arts also can investigate various way of communication system and classification. The structuring element of genre was identified by form and contents in that field. But the classification of the web, which is new communication tool, was made by defining the purpose of the web. In this paper the genre system, which consists of form, contents, and function, is applied to classify the web so that we offer tile opportunity to identify dearer characteristics of it. In order to investigate the genre elements in the communication process the structure of the semiotic triad after Charles S. Peirce was adapted, which was labeled as representamen, object, and interpretant. The representamen substitutes for the web function, the object does for the form of the web, and the representamen does for the web contents. According to the Peirce's the representamen identify the object but on the other hand it is identified by the interpretant. Logical structure of the fact that form of the web is identified by its function, and the function is identified by the contents is proved by following the theory. Therefore, the concept of web genre is supported by the element of genre having a logical structure activating in the communication process. We suggest that in recent complicated communication circumstance the genre concept should be adapted to implement the effective web communication design.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.62-69
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• 2015

This study examined the effects of the level of narrativity of a culture content on the level of preference of a related culture content. The culture contents were categorized into novels, cartoons and TV programs according to the content type, and into dramas, comedies, and actions by the contents genre because previous studies found a high level of narrativity in novels and dramas. Based on the survey data on the movie preference, the following were found. First, when people prefer novels with high-level narrativity, rather than TV programs, which have low-level narrativity in a certain genre, they prefer watching movies in the same genre. Second, this relationship is even more reinforced when the genre of the original of the movie is drama, which has high-level narrativity, rather than comedies or actions, which have low-level narrativity. Narrativity plays an important role in the movie preference, especially when it comes to movie originals.

• Cartoon and Animation Studies
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• s.50
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• pp.383-422
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• 2018

In this paper, I study the development of character in the fantasy genre of trans-media contents. In this study, I studied the novel " Songs of Fire and Ice " from the existing fantasy genre, and found that the content was expanded to include characters and features that were important to compared with the other fantasy genre content. Late fantasy genre writers since The Lord of the Rings have inherited a sort of genre of standards, and have established the genre of high fantasy. The genre has a typical characteristic of heroic characters or group adventures, based on the stage 12 heroic epic by mythologist Joseph Campbell. So the body of this paper will explore the journey of the heroic character in " Songs of Fire and Ice" and will be compared to the mythic motif and to the heroic epic narrative, and then find out the exceptional features of " Songs of Fire and Ice " as a fantasy genre.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.251-258
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• 2011

Nowadays, 'fusion style' television programs are increasingly found in the production of television program. Originally such a trend has been developed with a purpose of changing tedious cultural program into entertaining style. Recently, however, it has also become as an alternative style of genre which is against from lasciviousness or lewdness of entertaining programs. This study is designed to analyse the characteristics of television production and theorize a producing process of the television genre-over program As a result of various aspects of research, it is found that recent producers who make genre-over program choose any kind of genre which is thought to be needed for their program, without any limitation in terms of methods or skills for specific genre. And with this change of concept for making programs, genre-over programs are newly defined as the entertaining programs, in which its entertaining function is widen and broaden, absorbing the informative function of cultural programs.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.51-59
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• 2018

The purpose of this study is to analyze genre differentiation in digital games and examine the changing characteristics of core genre elements. Especially this study focuses on the aspect that how players recognize genre differentiation based on the conceptual blending theory. The evolution of the genre does not end with decline or extinction. The genre keeps being divided into sub-genres through partial use of genre elements. The differentiation of the genre results from the principle of frame confrontation or expansion with a parent genre. Rogue-like games are differentiated from Role-playing games by frame conflict, while Metroidvania games are differentiated from Platform adventure games by frame expansion. In the former case, the core genre elements are independent and easily combined with other genres. For example, the core mechanism of Rogue-like genre like 'perma-death' or 'procedural generation' has a decisive effect on the differentiation of the game experience become an independent genre element. In the latter case of Metroidvania, the core genre elements strongly reveals context dependency and are difficult to use outside the genre convention. The core mechanism of Metroidvania is 'backtracking' in the labyrinth style map, but it could be effective genre element within the specific context like side-scrolling action-platformer.

• Journal of Digital Contents Society
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• v.18 no.6
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• pp.1119-1125
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• 2017

Genres and actions of stories can be used to classify stories, and used effectively as well for visualizing story properties. This paper proposes a Genre-Action coordinate system for visualizing story property data in 2-dimension that has similarities between the genre and action items along the axes, i.e. a property of spatial continuum. With the proposed Genre-Action coordinate system we found that the genre and action items in the axes are arranged according to their similarities and we were able to achieve a spatially meaningful visualization of story properties where the related data form clusters.