• Asia-Pacific Journal of Business
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• v.13 no.3
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• pp.157-170
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• 2022

Purpose - The purpose of this study is to understand the motivating factors of Chinese audience who watch the interactive drama, and suggest the effects of audience' motivation on viewing flow, satisfaction, and loyalty. Design/methodology/approach - To achieve the purpose of the study, a questionnaire survey on the Internet was conducted from September 26, 2021 to October 14, 2021, and data from 332 Chinese respondents were collected. Findings - Findings of this study are 1) audience motivation of watching the interactive drama is composed of 6 factors including the pursuit of entertainment and information, curiosity, interaction, sense of control and indirect experience; 2) the pursuit of entertainment and information, interaction and indirect experience have positive effects on viewing flow; 3) all six factors of audience motivation have positive effects on audience satisfaction; 4) four motivating factors including the pursuit of entertainment, curiosity, interaction and indirect experience have positive effects on audience loyalty. 5) viewing flow and audience satisfaction respectively has some partial mediating effects on the relationship between audience motivation and audience loyalty. Research implications or Originality - Results of this study suggest that in order to increase audience loyalty to interactive dramas, in addition to fulfilling the pursuit of entertainment, which is the basic motive for watching any drama, it is important to fulfill motivating factors related to the unique characteristics of interactive dramas such as curiosity, interaction, and indirect experience. In order for these motivating factors to lead to audience loyalty, it is more effective when viewing flow and audience satisfaction are accompanied.

• (The) Research of the performance art and culture
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• no.40
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• pp.223-268
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• 2020

In contemporary Theatre, the case of inducing direct communication between the audience and the performance is prominent. Especially with the development of digital technology, the audience wants a personalized experience. The emergence of 'immersive Theatre' in this trend has attracted great attention both at home and abroad. In particular, the most important role in the emergence of the concept of 'immersive Theatre' is the British punchdrunk Theatre. Their representative performance began to premiere in London in the UK in 2003 and has expanded to include New York and China in Shanghai and continues to be extremely popular until 2019. In general, a review of existing studies on the role of the audience in shows that the focus is on the participation of the audience. What experience will be given to the audience can not be emphasized in contemporary Theatre. In order to satisfy the diverse needs of the audience, contemporary Theatre are increasingly showing complexity that cannot be explained by any one theory. The same goes for . This is because each audience wants a personalized experience, and there are differences in experience depending on the environment in which the audience also grew up, knowledge, culture, and taste. This study selected Punch Drunk's as a performance that can represent contemporary Theatre, and conducted a study on the role of audience in contemporary Theatre. To this end, we have historically explored past discussions about the role of the audience and discussed the characteristics of the role of the audience in contemporary Theatre. Next, I analyzed in detail the experience of the researcher "He" who watched the performance with the researcher on the role of the audience in . In conclusion, the experience of the audience in is diverse and complex. In other words, the role of the traditional audience in the proscenium play, as well as the audience as a participant in the post-drama play, was also complex in the performance. And this complexity was not a coincidence, but a planning strategy for the Punchdrunk Theatre. Therefore, when discussing the role of the audience in contemporary Theatre, there should be a discussion that clearly sees the complex characteristics of contemporary Theatre through the approach from various perspectives, rather than merely one view of the audience as a participant. something to do.

• Journal of the Korea Convergence Society
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• v.11 no.8
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• pp.287-296
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• 2020

The purpose of this study is to explore the differences in aesthetic experience according to the level of audience participation. Flow experience and aesthetic distance were utilized as proxies for aesthetic experience. A total of 70 undergraduates participated in the experiments of this study. In terms of flow experience, active participation groups were found to have relatively greater flow experiences compared to contemplation groups and passive participation groups. However, there was no difference in flow experience between the contemplation groups and the passive participation groups. In light of aesthetic distance, which means psychological distance, people in active participation groups were found to have a closer psychological distance from artwork than those in contemplation groups and passive participation groups. Also, those who belonged to the passive participation group showed a closer psychological distance than the contemplation group. The results of this study provide artists and art organizations with implications for enhancing audience attraction as well as the completeness of artwork.

• The Research Journal of the Costume Culture
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• v.24 no.3
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• pp.367-384
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• 2016

The aim of this paper is to examine relationship characteristics and the relevance there of in the context of the Chanel collection, between the contemporary fashion show viewed from the artistic side and intermedia on interaction. This study analyzed the relationship characteristics between intermedia and fashion shows by focusing on Chanel fashion shows from 2010 S/S to 2016 F/W as actual case. The results are as follow: First, participational accessibility indicates the experience of a designer and audience in active participation changing into passive participation. Second, audience immersion is represented by the perception of being involved by the audience in the place and acting. Third, conceptual symbolism is sending of messages through the designer's concept manifesting in the specific features of the design. Finally, expandability of media explains trans-boundaries in experimental attempts. It concludes that fashion show is a space where the audience can have visual as well as new knowledge and experience through multi-sensory channels. The Chanel collection which is considered a huge art project at the fashion show, showed a relationship between philosophy and the direction through season concepts and brands. The Chanel collection has brought a new experience through the convergence of communications and cultural media, such as music and art according to traditional brand image.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.4
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• pp.317-328
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• 2018

The purpose of this study is to examine the effect of the quality of performance on audience satisfaction, and to verify the mediating effect of service value and traditional image in this process. The subjects of this study included 211 male and female adults who experienced the Korean opera performance in Seoul, Korea in October. Collected data was used as a model of path coefficients obtained through analysis of covariance structure and hypothesis test. As a result of verification, program quality, physical environment quality, and quality of the stage performance perceived by the audience showed a statistically significant positive correlation with performance experience attributes. The path coefficient between performance attribute and service value, performance experience attribute and traditional image were also positively and statistically significant. Further, the path coefficient between performance experience and audience satisfaction showed a positive relationship. The service value and traditional image, service value and audience satisfaction, and the path coefficient between traditional image and audience satisfaction were statistically and positively significant. Finally, all hypotheses were adopted and study results confirmed the effect of service quality and experience attributes on audience satisfaction for the popularization, modernization and marketing strategy of the Korean opera. In this process, it is meaningful to verify the role and function of service value and traditional image.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.2
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• pp.118-123
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• 2023

With the continuous development of emerging technologies represented by VR technology, many game developers are declaring that they are constantly trying to break the "fourth wall" and break the boundaries between virtual and reality to create game immersion for players. new game. But for many gamers, a strong sense of immersion is not the focus of their pursuit. The sense of control and safe exploration during the game is also the game experience that many gamers are pursuing. Moreover, there is ambiguity in the definition of the concept of breaking the fourth wall in the field of academic theory. The purpose of breaking the fourth wall was to separate the real world from the virtual world, to remind the audience that the actors and the audience are in two different worlds, and to trigger the audience's thinking about drama and deeper philosophy. But in the current game, it has become a blurring of the boundary between virtual and reality, pulling players into the virtual world, and focusing on the immersive experience. In this paper, we will first sort out the concept of "breaking the fourth wall", and then conduct a comparative analysis of horizontal scroll games and VR games, and conclude that the "fourth wall" has an impact on players Great conclusion.

• Journal of Korea Game Society
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• v.18 no.2
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• pp.5-14
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• 2018

Main purpose of this research is to discuss relationship between digital art works and audience by expansion of Body Schema from Maurice Merleau Ponty's viewpoint, and artistic value of digital art works also became discussed in this research, based on Heidgger's concept called 'Defamiliarization'. We found this 'Defamiliarization' became an important role of digital art works caused by interaction between arts and audience. And we also discussed audience's role as a poet, being-in-between in between the earth and the world, gods and mortals called Heidegger's 'fourfold'. As a conclusion, this unique experience compared to other works is called "A shamanic experience", as an artistic value in interactive digital art works.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.368-378
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• 2020

This paper analyzed how the characteristics of 'punctum' and 'studium' in war documentary photography work on the audience through 'D-DAY' photographs taken by Robert Kappa and a U.S. army photographer. As a method of research, we conducted interviews with the audience to examine the process of expressing the punctum and studium experiences. Studies have shown that audiences feel a greater punctum experience in war documentary photographs of 'Robert Capa' than those of U.S. army photographers. Even if the same situation was taken in the same place, the audience could confirm that the photo could be a means of distortion because it did not show reality in various ways depending on the photographer who took it. This study is meaningful in that it revealed the distortion of war documentary photography and the audience's punctum experience by examining the audience's experience of war documentary photography through qualitative research.

• 지역과문화
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• v.8 no.3
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• pp.27-48
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• 2021

In recent years, China's tourism performing art in a series of new completion of the project, increase the box office of tourism performing arts industry, higher economic income, at the same time led to the formation of brand of tourism performing arts and has a good reputation, with the regional culture, has a certain role in promoting economic development, including Large scenario experience drama is one of the key projects. Large scenario experience drama is a new form of drama that simulates the space design of real environment and enables the audience to have active experience in visual, auditory, smell, taste, touch and other senses with strong interactivity.Large scenario experience drama are adapted from traditional Chinese culture, regional culture and long-passed stories, and combine high technology such as lighting, sound effects, special effects and 3D effects to make the audience's experience more real.As the first Large scenario experience drama in China, 'You Jian Ping-yao' reflects the profound culture of Shanxi with new forms of expression and creative means, in the form of scene experience and make the audience more intuitive feel the 'Shanxi emotion', 'Shanxi sentiment' and 'Shanxi Morality', carry forward the traditional culture at the same time, also passed the Shanxi ancient and great values, strengthened the drama of China's movie village, impetus the development of the tourism industry in Shanxi, drive the Shanxi region of jingjing, gradually formed a complete industrial chain. However, there are also limitations such as improper plot connection and improper tourist management, which can improve the performance effect through more audience interaction and guidance. Therefore, it can be seen that large-scale situational experience dramas play a great role in promoting the dissemination of traditional culture and values, the development of tourism industry, the formation of regional brand characteristics and economic development. Through these, it can be seen that large-scale situational experience plays have enlightenments such as innovative thinking content, gradually forming an industrial chain closed-loop, and broadening publicity channels for the development of live-action performances.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.126-137
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• 2022

Whether an excellent animation film has vitality and charm largely depends on the aesthetic and emotional experience it brings to the audience, as well as the flexible use of the medium-long shot during the production of the animated film, especially the long take shot. It can then realize the real emotional communication between the animated film and the audience, stimulate the aesthetic experience, and achieve emotional resonance and sublimation. This thesis studies the characteristics and morphological divisions of moving long-shot composition and static composition and explores the diversified theories of animated emotional experience. Additionally, combined with the actual application analysis in the excellent animation feature "Prince Nezha's Triumph Against Dragon King", this thesis discussed the changes in the emotional experience created by the long take shots in the animation. This thesis finally summarized the relationship between the long shots in animation and the emotional experience of the animation creators, and how long shots stimulate viewers' aesthetic and emotional experience. In this way, it also provides a reference for future animation theory research, and finally creates animation works that bring high-quality emotional experience to the audience.