• Journal of Korea Entertainment Industry Association
• /
• v.14 no.4
• /
• pp.145-153
• /
• 2020

In the rapidly changing era of the fourth industry, big data is being used in various fields. In recent years, the use of big data has been rapidly applied to overall cultural and artistic contents, and among them, the use of big data is essential as a film genre with a lot of capital. This research method is analyzed as the film , which won the Palme d'Or Prize of the 72nd Cannes Film Festival in 2019 and the works and directors' award at the Academy Awards. The analyzed value predicts the film's performance through opinion mining, which gives the value of the change and sensitivity of each data cycle, and extracts the utilization index and topic keywords of SNS such as Facebook and Twitter to reflect the audience's interest. Identify the factors. As such, if model performance and model development can be predicted through model analysis of film performance using big data, the efficiency of the film production process will be maximized while the risk of production cost and the risk of film failure will be minimized.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.399-426
• /
• 2016

Sanjo has a quintessential value not only because of its musical depth but also because of its style of music that best expresses Korean sentiment. However, new values are being established from different viewpoints as time passes so Sanjo's values need a modification in order to encompass a contemporary value that is required and accepted by modern society. In this context, while focusing on communication with the public, I contemplated the developmental direction of Sanjo in five perspectives; The Social realization of value, The Experimental and social transformation, The Social diffusion of creation, The Leap of fusion and harmony and finally The Socialization of contents. In the perspective of 'social realization of value', Sanjo refers to creative activity as a new 'duneum' which allows traditional and creative activity to deviate freely while still being under the Sanjo guideline. Either way, it has a periodical value because new forms with new rhythms are the only ways to communicate with the modern public. When these values can be understood by modern society can Sanjo be revived and be acknowledged as an infinite value. Secondly as an experiment and social transformation, there is a transformation of musical instruments in the 21th century. Our musical instruments should be transformed to effectively perform our music rather than to perform Western music. Third, social diffusion of creation should be the 'new Sanjo festival in 21th century' which can facilitate the communication with the public. Fourth, regarding leap of fusion and harmony, I suggest a performing culture consisting of 'Storytelling Sanjo' and 'Media Art' which will ceaselessly evolve Sanjo performance as a medium to communicate with the public. Finally, in regards to the socialization of contents, I emphasize that Sanjo should have contents of mass media as a way of means to help utilize mass media.

• Journal of the Korean association of regional geographers
• /
• v.20 no.2
• /
• pp.189-205
• /
• 2014

Most local governments make an attempt to attract tourists through the large-scale development projects or regional festival events. But, its possibility of success is actually low, so they must take care of ecotourism industry which has higher efficiency in comparison with investing expense. Seocheon area couldn't be focused greatly in spite of the excellent ecological and cultural resources. However, there are lots of possibilities to be a new center of ecotourism because of newly opened National Institute of Ecology and National Marine Biology Resource Institute. Therefore, the purposes of this thesis are to analyze several eco-cultural property all over Seocheon, introduce ecotourism, a main function of ecosystem services, and develop the program satisfying 3 elements of ecotourism; natural environment, visitors and residents. In Seocheon located in where the sea meets the river, ecological property could be reorganized into 4 areas in relation to existing famous tourist attractions. As a measure to let visitors stay, we induced them to lodge in the region through the field work. To realize slow life, we designed it so that they can enjoy each landscape slowly. we also suggested the program which can guide visitors onto the vicinity of habitat for migratory birds at the mouth of Geumgang River and Seocheon foreshore nominated as Ramsar wetlands by focusing on National Institute of Ecology and National Marine Biology Resource Institute which will be the Mecca of ecology research. Through this research, there will be an opportunity to satisfy visitors of Seocheon and enrich local residents' lives.

• Health Policy and Management
• /
• v.31 no.4
• /
• pp.462-471
• /
• 2021

Background: The purpose of this study was to identify the association between participation in social activities and mortality rates for those aged 45 aged and older in Korea. Methods: In this study, the 1st to 6th Korea Longitude Study of Aging was used to analyze 10,217 people excluding missing values among middle and old age groups aged 45 or older. The scope of social activities was classified into "religious gatherings," "religious gatherings," "leisure/cultural/sports-related organizations," and "clubs/hometowns/religious associations," and analyzed using a chi-square test and Cox proportional risk model. Results: In the case of non-participating groups in religious activities, the mortality rate was 1.24 times higher (hazard ratio [HR], 1.24; p=0.000) than those of the participating group. The non-participating group of social gatherings had a 1.27 times higher mortality rate (HR, 1.27; p<0.0001) than the participating group. In addition, the mortality rate of non-participating groups related to leisure/cultural/sports was 1.79 times higher (HR, 1.79; p=0.000). The mortality rate of the group that did not participate in the alumni association/festival/folklore society was 1.51 times higher than that of the participating group (HR, 1.51; p<0.0001). As a result of correcting the control variable to analyze the relationship between the number of participants in social activities and the mortality rate, the mortality rate of the group participating in one or less social activities was 2.26 times higher (HR, 2.26; p<0.0001) compared to the four or more social activity participating groups, and the mortality rate of the 1-3 social activities was 1.64 times higher (HR, 1.64; p<0.0001). Conclusion: As a result of the study, it was found that participation in social activities of the middle-aged and elderly groups was effective in reducing mortality, and in particular, it was found that there was a strong relationship with mortality in less than one social activity group. Therefore, it is intended to provide an academic basis for lowering the mortality rate of the group in line with the continuous improvement of domestic social activity participation conditions, and through this, this study can be expected to serve as a policy and institutional basis for lowering the mortality rate of the group.

• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.187-218
• /
• 2020

Ulsan Dutbeki is a local dance handed down by the Ulsan people through custom. This study was discussed on the locality of Ulsan Dutbeki. The method of this study is as follows. First of all, the perception of Dutbeki from the perspective of Ulsan's local characteristic. First, Ulsan Dutbeki is based on the local characteristic of the southeastern coastal area of the Korean peninsula. Second, Dutbeki features local characteristics of Ulsan as a military cultural area. Third, in Dutbeki, there is a local culture of Ulsan which was originated from the village Dongjeol and outdoor performances. Next, the researcher perceived Ulsan Dutbeki which had been handed down through custom and approached its shape. The origins of the shape are, firstly, the speech tone and gestures of Ulsan people. Secondly, folk plays related to worshiping martial arts and military training. Thirdly, the characteristics of the Dutbeki dance in coastal areas of Gyeongsangdo. Fourth, local custom displayed at the village festival of Ulsan. Ulsan is a region of Gyeongsang culture area and has similarity with other localities. However, this study limited its comparisons with regard to Dutbeki that were originated from the local characteristics of other regions. The results of this study recognized Ulsan Dutbeki as a local dance in Ulsan area. In other words, this study perceived Dutbeki, which had been an entertaining component of traditional lifestyle, as an intangible cultural heritage and studied the form in every conceivable way from an artistic point of view.

• 한국게임학회지
• /
• v.6 no.1
• /
• pp.70-72
• /
• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• Korean Association of Arts Management
• /
• no.51
• /
• pp.135-166
• /
• 2019

Recently, the Japan Cultural Agency announced a plan for revitalizing the art market represented by reading museums (advanced art museums) to promote industry through strengthening the sustainability and economics of art museums. Along with these policy announcements, the Japanese cultural system and Bypyeongje are divided into pros and cons, and there has been a heightened opposition, which is now in a state where policy promotion has been temporarily suspended. The opposite reason is that it does not meet the museum's inherent purpose of preservation and lore, and the reason for favoring that commercialism can ruin the art world is that the Japanese art society is other than art museums and museums Also, it consists of non-profit organizations, art festival administration organizations, support staff, volunteers, etc., but because of the high subsidy bias, no real labor costs are paid, which means that it is virtually neglected. Also, there is a vigilance that the art society itself, which reduces its reliance on subsidies in response to social changes, can survive. Seeing that the situation is not much different from Japan, Korea is also actively discussing new establishments of the National Art Bank, performing art appraisal and evaluation functions for revitalizing art works, art loan, art trust, etc. There is. As it is difficult to solve realistic problems with subsidies from the future situation, it is difficult for us to expand investment in culture, and culture and economy are united and linked. You will find a plan to make it operational. In this regard, it is thought that the examination of the cultural and economic agency's strategy, represented by the Japanese advanced art museums, gives us a meaningful suggestion.

• The Journal of the Korea Contents Association
• /
• v.18 no.5
• /
• pp.545-553
• /
• 2018

As the share of leisure culture increases these days, expectations are rising for the high quality of culture while increasing interest in leisure and tourism. The percentage of the population going on weekend trips to broaden the horizons of elementary, middle and high school students has continued to rise in proportion to the expectations for cultural enjoyment. We expect that visitors' weekend family activities will include relaxing, playing and educational purposes. Recent educational programs have moved from the past where only children were allowed to be onsite, to a shared style in which parents can engage in educational activities, potentially leading to the implicit involvement of family ties and family elasticity. The effects of education are not expressed by the period that ends in a single moment of experience, but by the continuity of training and experience. The same holds true for family affinity, communication and empathy. Providing opportunities for family experience and education is a national responsibility for broken family and restoring solidarity with the growing number of single-person households. Furthermore, it is a duty of museums and galleries today, and it is necessary to come up with methods to enhance family solidarity and family affinity. In particular, it is imperative to develop and provide educational programs for educational purposes at the Education Museum, and to develop " education for family " at the social level. This paper aims to analyze the results of all family participating education programs provided by family education programs at the Education Museum through family surveys and interviews, and to enhance the activation of family types education programs more actively.

• Lingua Humanitatis
• /
• v.8
• /
• pp.151-173
• /
• 2006

Even in this current high-tech industrial age, mythological imagination is considered important. Although each mythology scattered all across the world may have an insignificant origin, to understand that particular society fully, one must not mistakenly assume that the mythology itself is a production of a primitive mind. Ultramodern physics and futurology professor Freeman Dyson has also acknowledged this opinion. He insists that in order for human kind to survive into the far future it most keep in touch with its far past. Levi-Strauss also observes that mythology and science aren't a entirely separate domains. The scientific mind is regarded as a source of understanding the intrinsic qualities of mythology. Taking mythology and science as a binomial opposition, and only weighing their prospects, should be put to the past as we should recognize the need for mythology and science's qualitative unification. In this new point of view, regarding mythology as a meaningless irrationality should cease, while finding out why the inevitably related world of mythology needs metaphoric, ideological consideration. By utilizing 'Whale Rider' by Witi Ihimaera(2004) we will discover why our lives require an 'image' that is borrowed from our experience. The author, Witi Ihimaera, is originally from the Maori tribe, who approaches the world with a mythological imagination, which is not easy to understand with scientific thinking nor in modern civilization. When looking into the mythology of the ocean which still lives in modern civilization, while noting that the world is one, the author indicates that reality and unreality, nature and the super-natural, present and the past, science and fantasy, were not divided from the beginning. However, overtime humans have divided the borders. To do this, the author interprets the ancient emotions of the Maori tribe which have been traditionally accumulated in the group identity in a new literary way by introducing the Maori tribe's ancestral god, Paikia, who can converse with the ocean and the whales. This piece, which has been made into a movie and won awards in 5 international film festivals, including the Toronto International Film Festival, regards primitive emotions as a rational concept instead of an instrumental concept. Also these primative emotions are continuing their attempts to communicate with nature. Furthermore, it advises contemporary human beings who seek for eternal life to not exploit the cultural differences that have been formed naturally, and it is vital for human beings to transcend the ethnic boundaries and to think rationally. In the story, we can find "the dissimilar us" that philosopher E. Levinas mentioned in his sayings, which refers to responsible human beings who devote their lives for the sake of other people instead of fulfilling their own needs.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.41 no.2
• /
• pp.83-92
• /
• 2013

This study was to identify the differences on cognitions for conservation on the Rice Terraces landscape between local residents and visitors. For this purpose, this study drew problems and implications through consideration about advanced studies and then carried out a survey of local residents and visitors. The results of this study analyzed five factors that are the components of cognition about the Rice Terraces landscape: production, policy, landscape, management, and revitalization. The Cognition of Rice Terraces landscape indicated that local residents had more positive evaluation than visitors did. In addition, there were indicated differences in most items. Particularly, the local residents had more positive evaluation than visitors did in production(rice paddy of fallow ground, form of traditional rice paddy, weeds), landscape(cultural value, footpath of rice field and stonewall), and revitalization(common program for local residents and visitors, village revitalization from festival and event). Visitors had a more positive evaluation than local residents in terms of policy(designation of a place of scenic beauty, direct payment) and management(cooperation of local residents and visitors). In consideration of these results, it needs to draw up measures that are able to build up a common cognition to overcome differences between local residents and visitors. It is based on the knowledge and opinions that visitors and local residents had concerning history, traditions, cultures and production.