• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.45-55
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• 2015

The Korean wave contents such as Korean TV dramas and K-pop are sweeping over foreign countries. This Korean wave has improved positive national brand image and also brought up interest across Korean culture. Due to expansion of Korean wave, some Korean education contents started to be made by using Korean wave contents. These kinds of Korean educational online contents induce interest in studying Korean by using Korean wave contents. Furthermore, people can indirectly experience Korean culture. so we need to come up with more effective application plan. However, contents which has produced currently still have insufficient part. Based on that, current state of Korean education online contents by using Korean wave contents will analyze into especially a series of 'Pit-A-Pat Korean' from Nuri-Sejong school need to be proposed a review of the limitations and improvement conclusion in this paper. The K-drama produced by effectively utilizing the planning and the Korean educational content. This will reveal to the culture and traditions of Korea, as well as a simple information transfer. So we expect to be a valuable activity that is responsible for a stem to improve the country's image as one item K-culture itself.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Journal of Nutrition and Health
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• v.36 no.5
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• pp.508-514
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• 2003

The purpose of this study was to analyze information about food and nutrition presented through the television broadcast media, with the aim of finding out the optimal communication method for supplying the general public with accurate information. To perform this study, a total of sixteen monitoring people were recruited and trained before and during the study. Five domestic TV channels were selected to be monitored, and the total monitoring period was six months. For maximum efficiency, the monitoring people were assigned to 8 teams. The results of the present study can be summarized as follows : First, the total reported cases of information about food and nutrition were 237, of which about 30% were judged appropriate and 70％ as inappropriate. Second, classifying each case by program type, information programs made up the highest portion at 82 cases (34.6%), cooking programs accounted for 76 cases (32.1%), news programs for 40 cases (16.9%), and entertainment programs for 7 cases (3.0%). The analysis showed that the greatest amount of incorrect information was found in dramas, followed by entertainment, information, cooking and news programs. Third, classifying each case by theme of contents monitored, meal preparation and cookery made up the highest portion at 86 cases (36.3%), foods accounted for 67 cases (28.3%), disease and diet-therapy for 40 cases (16.9%), eating habits for 31 cases (13.1%), and diet and fitness for 13 cases (5.5%). Incorrect information was conveyed most often on the themes of food habits, foods, disease and diet-therapy, cookery, and diet and fitness. Fourth, classifying each case by channel, Cable TV had the highest frequency at 72 cases (30.4%), MBC had 51 cases (21.5%), SBS had 43 cases (18.1%), KBS1 had 41 cases (17.3%) and KBS2 had 30 cases (12.7%). In conclusion, systematic monitoring should be continued to reduce the frequency of incorrect information being broadcast and to help ensure that accurate information is conveyed to the general public. Moreover, there should be a system of cooperation to provide information to help broadcast production teams establish a strategic program. Finally, it is essential to organize an advisory team by promoting links between the mass media and specialists in the field, and to develop an educational program on nutrition to help ensure the communication of accurate information on food and nutrition. (Korean J Nutrition 36(5): 508∼514, 2003)

• Journal of Digital Contents Society
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• v.16 no.2
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• pp.227-234
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• 2015

Recently, there is more and more demand on broadcasting display environment that provides a sense of realism basically with high quality and high definition as in UHDTV, so various kinds of 4K cameras have been released. Super 35mm sensor 4K/UHD cameras being generally used can be usefully applied to the single camera-based system such as advertisements, dramas, nature documentaries, and culture programs. However, in the multicamera-based system such as entertaining programs, sports, and concerts, relay broadcasting may face limitations as there are restrictions of close-up or tight shots according to the distance. Besides, 4K lenses are not enough compared with the previous HD lenses' group, so there are limitations in camera photographing shots that have been realized in HD filming. Therefore, to complement this, the use of 2/3 inch sensor 4K/UHD cameras is being demanded, and it is also needed to use various lenses' groups to produce UHD image contents. Accordingly, this study used Grass Valley's LDX 4K/UHD camera to analyze its applicability based on the picture quality test at the use of HD lenses in 2/3 sensors and also the possibility of its efficient application.

• Korean journal of communication and information
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• v.77
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• pp.255-288
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• 2016

Korean mass media has represented foreigners in their documentaries, entertainment shows, situational comedies, and dramas for long time, while the representations created plenty of controversies. Alleged West-oriented racism found from various televison programs may be one of them. Recently, however, more Korean television shows began to incorporate the ideas of multi-culturalism. This paper is an attempt to explore how television audiences interpret multi-culturalism reflected in the media. More specifically, this is a case study of JTBC's , a show featuring foreigners debating on various topics regarding Korean culture. Particularly, it focuses on disputes over the producers' decision to play 'Kimigayo' (the national anthem of Japan, which is also considered as a symbol of Japanese militaristic past) when introduced a new Japanese panel. Critical discourse analysis was adoped as the main research method, and researchers found that audiences draw certain guidelines in accepting multi-cultural aspects. If and when these aspects overstep the line, they tend to abandon it without hesitance. In the case of 'Kimigayo,' it was ethno-centrism and/or anti-Japanes sentiments which made multi-culturalsim much weaker. It does not mean that multi-culturalism was replaced-or defeated-by nationalism, but show the 'vulnerability' of multi-culturalsim. Multi-culturalism is not as concretely rooted in Korean society as many people have claimed or hoped. The research has its own limitations as a case study, but it is hoped to stimulate other researchers to keep their eyes on media and multi-culturalsim in Korea.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.475-486
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• 2020

This paper is a thesis on media art technology for high-tech performances and exhibitions. After creating an interactive stroke in VR, it is projected in real time through a media facade technique. Among our traditional dramas emphasizing linear movements, movements were extracted from the Bongsan mask dance, and the movements of the lines were used in a media art performance called 'Multi-face Convergence'. When motion data enters the virtual space, geometry consisting of faces is created in the VR space. The created strokes can be set with various brush types, and when performing, a stroke with a red fire effect that matches a dynamic movement was used. It was made to be able to harmonize with the dancers performing the Bongsan mask dance. The medium called VR has characteristics that are not suitable for melting into a performance, but in this performance, it has overcome its limitations by using a technique called media façade. We propose the world's first performance technique that combines interactive strokes with traditional dance performances.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.215-228
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• 2011

In the history, 'father' has been described as a being who not only take care of the family but also represents the family socially and supports them. Like the Western patriarchal tradition prevalent in the 19th century, fathers in Korean society also bear patriarchal paternity based on Korean traditional Confucian culture. In such a unique family culture of Korea, Korean fathers hold the patriarchal male centered idea and regard it as the roles of man and father to be responsible for the family's living and safety and to be more rational than emotional and more blunt than gentle. Social ideology for this image of father is expressed in media, and an example is the patriarchal image of father in TV dramas and movies. In order to analyze the image of Korean fathers described in films, this study selected two films and examined the semiological meanings of fathers' roles expressed in the films using Metz's syntagmatic and paradigmatic analysis method. The films chosen for case study are 'Fly Daddy', 'The Show Must Go On', and 'Speed Scandal'. These films are good examples demonstrating that Korean patriarchal paternity and its background traditional ideology are projected on media.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.675-690
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• 2016

The current study attempts to empirically identify a theoretical background that effectively explains Korean pop-culture consumption in the Asian Pacific region; particularly, in China. Specifically, this study investigates how globalism, proximity, and modernity, which have been suggested in literature as key theoretical backgrounds for the Korean wave, influence China's motivation to consume the Korean wave and its subsequent consumption of Korean TV programs (e.g., dramas, variety shows, etc.). The findings suggest that the motivation to consume the Korean wave is positively related to globalism and proximity. Modernity, however, is found to have a negative influence on the motivation to consume the Korean wave. That is, the more one holds international values, the more one perceives Korea as similar to China, and the more one holds traditional values, the more motivation one shows to consume the Korean wave. The study also finds that the motivation to consume the Korean wave has a significant impact on the consumption of Korean TV programs. In the revised model, the study suggests that proximity, followed by globalism, has the strongest positive relationship with motivation. Such a finding suggests that a proximity approach could serve as a better theoretical perspective to explain the phenomenon of the Korean wave in China. Regarding the relationships of the demographic/socio-economic variables and the motivation to consume the Korean wave, females, rather than males, the higher the family income one gains, and the lower education level one has had, the more motivation one will show to consume the Korean wave.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.153-169
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• 2016

This study aims to understand the background and characteristics of receiving Hallyu based on the cognitions and attitudes toward Korea and Korean culture in the Philippines. With the background of Business Hallyu and Cultural Hallyu between the two countries, this study conducted the Focus Group Discussion(FGI) research, literature research and analyzed the statistical resources. The economic and cultural exchanges between Korea and the Philippines have been increased by the effect of Hallyu, but the socio-cultural conflicts, such as Kopino issue, crimes related to Koreans have been also grown. Thus, the Hallyu research focused on the Philippines is necessary, and it will be a cruical variable to forecast the socio-cultural relationship between Korea and the Philippines. The FGI research recruited participants in both undergraduates in the Phillippines and the Filippino migrants in Korea. The FGI participants of each group shows the differences of cognitions, attitudes, and actions to consume Hallyu, and the participants of both groups agrees that experiences of contacting Koreans influence on understanding Korea and its culture. The FGI participants have tried to watching Korean dramas, learning Korean languages, and building relationships with Koreans in order to adjust Korean culture. In order to improve the relations between Korea and the Philipines, Hallyu needs to promote its values as the unique culture and also universal culture in the world. Korea should increase understanding of the Filippino culture to overcome cultural differences and make efforts on localize the Hallyu 3.0 in the Phillippines.

• Korean journal of communication and information
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• v.29
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• pp.111-145
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• 2005

In this study, the problems In the current HDTV programming strategies were critically inquired into and reform measures were sought through in-depth interview with HDTV programming staff and program directors of the three major terrestrial broadcasting systems that are in their fourth year of HDTV broadcasting, and through analysis of the characteristics of HDTV programming. The analysis of this study showed that the time allocated to HDTV programs far exceeded the thirteen hours per week set by the Korean Broadcasting Commission. However, the percentage of HDTV programs broadcasted during the prime time was low, which as a result, limited the opportunity for the audiences to experience HDTV. furthermore, the low percentage of programs such as documentaries, sports, movies, etc. that are preferred by early adopters and through which the features of HDTV including high quality of picture, wide screen, etc. can be fully applied and shown did not appear to help in accelerating the popularization of HDTV In order to improve these problems, despite their having to bear the initial production costs, the broadcasting systems must come up with an aggressive strategies for the programming of documentaries, sports programs and dramas in order to strengthen the competitiveness in HDTV production and secure future adopters, and together with this, full support from the policy planning authorities and companies manufacturing electric home appliances, the other leaders in DTTB(Digital Terrestrial Television Broadcasting) transition, are necessary in order to promote the production of HD contents.