• Trans-
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• v.11
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• pp.119-142
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• 2021

Video was a cultural practice based on image. The audience longs to experience new things, not everyday things through by video images. There are many components of the image, but among them, color, a visual representation, plays a big role. Since the advent of color films, color has constantly evolved as an important component of visual art and has become an important role in innovative visual art design. According to film history data, filmmakers were interested in color since the film was created in 1895, but in the early stages of film development, film colors were only black and white. Because these two colors no longer satisfy viewers, more natural colors began to emerge from the film as it was colored. However, with the development of historical paintings, the lack of artistic creation and the public's level increased, making people more active in using colors because simple reproduction of natural colors alone does not satisfy people. The colors in the video are both techniques of expression and can be understood by mind and thought. It is also an indication that colors do not just exist, but they work strongly on human psychology. Now people are so motivated by repetitive and unimportant information that they find that the human intuitive system simplifies the information they receive unconsciously that they have certain customs and characteristics when they see things. Color is part of the film language, or color language can express the film's ideological themes or portray vivid characters in the film, and people are receiving more intuitive messages. This study analyzed the basic color components of bisexual lighting, namely, pink, blue, and purple, and analyzed how human psychology is affected through color, combining the scenes from the video. The purpose of this paper is to explore what color language bisexual lighting is expressed using color properties in images and how bisexual lighting interacts with human psychology through color.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.155-167
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• 2020

The stage manager role of "Our Town"(1938), a representative work of Thornton Wilder(1897-1975), is a unique theatrical device that presents a wide range of interesting and diverse perspectives in the actor's acting approach, the director's stage-shape methodology, and the audience's theater experience. Why did Wilder call stage manager role a stage manager, not just a simple narrator? Because "Our Town" intentionally lacks the basic elements that dramas must have, it needed a more self-reliant and omnipotent role in creating the margins of dramatic writing, including boldly omitted time and space, with infinite imagination. For this reason, stage manager role plays a much more complex and multi-functional role than a narrator. In response, this paper accurately articulates the concept of theatrical style and theatrical convention on the premise of the stage manager role in "Our Town," followed by making theatrical convention, the director of scene progress and scene change, the messenger of the writer's thoughts, and dramatic rhythm control.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• Korean Security Journal
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• no.52
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• pp.43-70
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• 2017

Terrorist organizations that take advantage of the occasion of international events are changing from targeting specified people to attacking general public, raising the anxiety of the audience and participating countries. Therefore, the host country intends to improve its status as the host by ensuring safety and crisis management at any cost. As a country with a wealth of experience of hosting international events, Korea takes the burden of the security at Pyeongchang Winter Olympics. Consequently, to successfully host this winter Olympics, the organizing committee should bear in mind that Korea is no longer a safe country regarding terrorist attacks and take countermeasures against various crimes and terrorism that may arise during the Winter Olympic Games. This study overviews various measures as follows. First, the change of counter-terrorism strategy is necessary. Second, the safety entity and safety measures for Pyeongchang Olympic Games should be established. Third, private security companies should be actively utilized. Fourth, the safety management training for private security and safety personnel should be strengthened. Lastly, it is necessary to establish a rapid and organic preemptive safety management system to cope with safety and crisis effectively at Pyeongchang Winter Olympics and other international events that will be held in the future.

• Journal of Korean Elementary Science Education
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• v.43 no.2
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• pp.269-283
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• 2024

This study compared the characteristics of an experiment f or determining whether gas occupies space presented in elementary school science textbooks to examine the validity of the experiment, identify and improve problems in its presentation, and verify its effectiveness. This study interviewed third-year elementary school teachers who had experience teaching this experiment to students. Based on teachers' opinions and observations, this study identified issues with the current experiment, developed an improved experiment, and determined its effectiveness. Through this analysis, three key findings emerged. First, the study found that the original experiment on gases was presented in the same or highly similar manner in 5 of 7 textbooks (71.4%). Thus, while various textbooks have been developed with the aim of promoting diversity and creativity in scientific literature, most experiments presented in these books are identical. Second, the existing experiment was not suitable for its target audience (third-year elementary school students) and was difficult to observe directly. The interviewed teachers also deemed the validity of the experiment to be considerably low. Finally, the original experiment was improved; this improved version was determined to be highly valid, showing a statistically significant difference compared with the original experiment. The improved experiment was effective for students as it involved activities suitable for their intellectual level and was directly observable through the senses. Thus, the study analyzed and improved an existing science experiment f or elementary students, providing insights into the 2022 revised science authorized textbooks and implications for future textbook development.

• Cross-Cultural Studies
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• v.47
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• pp.163-190
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• 2017

This paper studies the recent surge in the number of faith-based films in Hollywood, with the aim to explore the context and implications of this new trend. By using the theoretical framework of the study of the Tilich and Van der Leeuw, who have explored the relationship between religion, culture and art, this article discusses the meaning of the spiritual theme in the film. A couple of common points can be found among the faith-based films that have been produced since the 2010s. While these films attempt a universal approach to the fundamental theme of spirituality through popular narratives familiar to the audience, they also stress 'historical truthfulness and credibility' by representing the reality, such as a featuring real person or a true story in the film. The main characters are depicted as "victorious losers" that are distinguished from the typical Hollywood superhero and the films repeatedly show the human being constantly 'asking' questions to God. By analyzing these characteristics, the paper demonstrates that recent Hollywood faith-based films have successfully differentiated themselves from existing religious films while symbolizing the universal beliefs and values beyond the religious message so as to attract more audiences to this field. The paper also suggests that despite the advances in modern science and knowledge, the public will always yearn for a spiritual recovery and salvation through the film medium, serving as a potential source that provides an outlet for spiritual experience.

• Journal of Service Research and Studies
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• v.14 no.2
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• pp.158-177
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• 2024

This paper proposes and tests a theoretical model of the relational link between a novel form of customer-perceived fairness for a reward design (distributive peer justice climate) and C2C helping intention via community identification and online C2C interaction (friend-, neighboring customer-, audience-interaction) qualities in a collective consumption context (MMORPG). To test hypotheses, we amassed survey data within a collective consumption context (massively multiplayer online role-playing games, MMORPGs). We used structural equation modeling in analyzing the survey data. The results reveal that user-perceived distributive peer justice climate for a reward design enhances their C2C helping intention via community identification and C2C interactions in MMORPG contexts. Collective consumption-type service managers should focus on promoting the user-perceived distributive peer justice climate for their reward system to enhance users' present C2C co-creation experience (community identification, C2C interaction) and future C2C co-creation behavior (helping intention). By adopting an intra-unit level distributive justice concept (customer-perceived distributive peer justice climate) to a reward design in a collective consumption context (MMORPGs), this study informed collective consumption-type service managers of the importance of its management.

• Knowledge Management Research
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• v.23 no.1
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• pp.203-225
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• 2022

Competition in the OTT (Over the Top) service market is getting fiercer since global OTT services enter the domestic market and existing platforms are actively reorganized. As powerful competitors with ultra-luxurious content continue to enter the marke with diversity required by users, various efforts are required for OTT service platforms to prevent subscriber churn in order to generate continuous revenue. Thus, this study tried to examine the effect of OTT service characteristics on continuous use intention through an empirical analysis based on Expectation-Confirmation Model(ECM). A total of 386 responses were collected from individuals who have experience or are currently using OTT service and analyzed using AMOS 24. Results show that content curation, content richness, and audience activity had a significant effect on expectation confirmation. Also, expectation confirmation had a significant effect on perceived usefulness and user satisfaction while perceived usefulness had a significant effect on user satisfaction, significantly influencing continuous intention to use OTT. Finally, price fairness was found to strengthen all proposed relationships. The findings are expected to provide useful information for service and content development for subscriber retention, which has the most direct impact on revenue generation of OTT service providers.

• Journal of Gifted/Talented Education
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• v.25 no.6
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• pp.771-797
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• 2015

The purpose of this study was to assess musically gifted students'needs in order to develop the gifted curriculum in music. The survey was carried out with 103 musically gifted students who are being educated in institutes for the gifted. The survey asked the needs about components of the gifted curriculum in music: the educational objectives, contents, teaching strategies, evaluation as well as educational environment influencing on the curriculum. As for the objectives, the result showed the highest needs was the ability to communicate with audience by expressing one's feeling. For the high school students, a large number items had significant differences between the necessary level and the current level. As for the contents, the highest needs were the class piano, second instrument, and the experience of the musical field. High school students needed the second instrument more than middle school students did. As for the teaching strategies, the highest needs were the autonomous choice by learners, the instruction pursuing learners' interests, and the field work. As for the evaluation, the highest needs were the peer evaluation and the evaluation on the collaborative performance or team work. As for the educational environment, the gifted in music strongly needed spaces to practice instruments. Additionally, high school students needed a space to perform like a concert hall. Thus the gifted curriculum in music must be thoroughly developed based on the result above.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.