• Cartoon and Animation Studies
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• s.28
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• pp.125-153
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• 2012

This study is regarding what motion modality has influences on aspects of genre and media. Nowadays, motion modality becomes an element which is actively manipulated in live actions as well as animations. And, it has been generally accepted that a strategy on manipulation of motion depends on matters of genre or medium. As respected, can we say the premise is correct? if it is, can we refine the premise more theoretically, without using the words, 'genre' or 'media' which have not been are not been defined on an academic aspect. I intend to discuss on this issue. I will speculate the issue of manipulation of motion modality on theoretical bases. According to McLuhan's hot/cool media theory and Bolter's oscillation theory, the effect of it turns out to be same as manipulation of sentience ratio of media readers, and the ideal result will be examined by an example analysis. In the analysis, I will explore what effects manipulation of motion has on several examples. Then, by examining what kind of correlation these effects has with media/genre positioning, I ultimately will evaluate the genre/medium-based determinism of motion modality, which is represented by a typical premise like "Animation is most realistic when it has the most animation-like movement." Conclusively I suggest a refined premise like the following. Modality of motion is a strategy depending on issues of genre, with no regard to issues of medium, and the issue of genre is a category which is positioned considering mixture ratio of sentience. With this reason, A strategy of modality of motion depends to sentience a certain sequence needs. So, motion modality becomes a strategy which has to be approached in functionality of genre rather than economic values which spring from technical devices like a motion capture.

• 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.

• The Korean Journal of Archival Studies
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• no.7
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• pp.37-74
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• 2003

An Old document(Diploma) is a historical and unique record, so it must be collected, arranged, and preserved for research as soon as possible. Especially, for the effective use of the Old Document(Diploma), it is needed to arrange and describe the material systematically on the ground of modern archival theory. The Kyujanggak Archives in the Seoul National University has published 23 volumes of Old document(Diploma) material Old Document(Diploma). But they seem to cause the readers inconvenience, because the materials are classified and gathered only by genre, the titles or the orders of the materials are not standardized, and there is no description about the content of each Old document(Diploma). Jangseo-gak Library in The Academy of Korean Studies has also published the series of Old document(Diploma) material Old Document(Diploma) Collection. However the case is not different, since they are all mixed up with materials classified and gathered by genre, family, academy, or local school. And a great part of the materials have no titles and no description about the content of each Old document(Diploma), either. About the arrangement and description of the records, European and American archival science has established the theory of l)the principle of provenance, 2)the principle of original order, 3)levels of control, 4)collective description. These theories are valuable for the effective use of Old document(Diploma). On the viewpoint of the principle of provenance, Old document(Diploma) materials should not be classified by subject and genre, but by family and person. Then, the Old document(Diploma) materials, after collected by the unit of family or person on the viewpoint of the principle of provenance, should be arranged in their original order for more detailed arrangement and furthermore, for the work to find their relationship. This is so called the principle of original order. The hierarchical management of the Old document(Diploma) materials, for example, classifying by record group, sub-group, series, item and so on, is the concept of the levels of control, and comprehensive description of the each hierarchical structure is the concept of the collective description. Let's apply these archival theories to 34 pieces of the Chung, Man-Seok's material in the series of Old document(Diploma) material Old Document(Diploma). First, collect the Old document(Diploma) materials into Chung, Man-Seok's collection(the principle of provenance), which were scattered in the series classified by genre. Secondly, rearrange them chronologically(the principle of original order), and then we can find the comprehensive information about Chung, Man-Seok. For the hierarchical management of the Old document(Diploma) materials, we should establish a few concepts from the general, large group to specific, small item. The concepts can be organized as following; l)record group(Chung, Man-Seok record group) - 2)sub-group(personnel document, property document, family document, social activity document, political activity document, etc) - 3)series(gyoji-series, gyoseo-series, yuji-series etc. in the personnel document) - 4)folder(document with additions) - 5)item(one document). According to the the theory of the collective description, in the level of record group, there should be a collective description of Chung, Man-Seok's biography or a summary of record group. Similarly, there should be a collective description of a summary of sub-group in the level of sub-group and a summary of series in the level of series.

• Cartoon and Animation Studies
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• s.9
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• pp.80-93
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• 2005

This study analyzes current situation of Korean comics market, emphasizes the necessity of studying comics audience. Presenting the differentiated methodology for comics study, the alternative solution for Korean comics market is given. The theoretical foundation is based on the cultural approach for audience studies. This study aims to find out the changing environment of taking comics contents and using behavior of it. Most audience of comics make use of them in various ways and try to use them in new experimental method. To analyze the tastes and using behavior of comics audience is necessary for preplanning of comics production.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.81-90
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• 2012

The contents of this study are as follows. First, an academic understanding has been achieved by exploring the theoretical concept "allegory", and a new theoretical approached methodology has been sought. Second, an analysis-index of fashion illustration cases has been suggested based on the allegory theory of Craig Owens. Third, in order to draw the characteristics of fashion illustration as viewed from the allegorical viewpoint and find out its feasibility, the case studies has been referred and the internal significance, external significance that combines different characteristics has been extracted. In regards to this study method, literature studies and case studies has been done in parallel with each other. This study was done in the following sequence: the establishment of the study system, the drawing of the allegory-associated concepts and the discovering the characteristics of aesthetic expressions. The results of this study on the expression characteristics of fashion illustration as viewed from the allegorical viewpoint of Craig Owens are as follows. First, the borrowing of image, which is a characteristic of allegory, contains the meaning of uncertainty in the fashion illustration as it expresses the image-synthesis and forms a completely different meaning as the fixed meaning is dissolved and it is utilized as a photo-montage technique. Second, the inference of pictogram is the mixture of linguistic medium and visual medium. Fashion illustration utilizes the characters and transmits the fashion information visually and immanently. It has the characteristic of making the information into pictograms and the internal significances of mutual-text with communication function. Third, the uniqueness of location in the fashion illustration has the special nature of utilized mediums as it is used for advertising or publicizing. The fashion illustration from the viewpoint of allegory has the impermanency of existing only for a limited time and reflects the coincidence that gives the meaning of utilized location according to the season trend. Fourth, the cross-breeding is expressed as the mixture of various materials in the fashion illustration. The expressions made by the mixture of media, such as the use of computer graphic programs mixed together with various materials showed the trend of diversity and genre dissolution.

• The Journal of the Korea Contents Association
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• v.20 no.1
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• pp.73-98
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• 2020

This study aims to redefine Vlog, ASMR, and Muk-bang contents as 'Need Fulfillment Video Contents,' which are emerging as major genres among the video contents. And this study explores the relationships between consumers' motives, viewing satisfaction, and consumers' characteristics such as demographic characteristics, big five personality traits, and individualism-collectivism tendencies in terms of uses and gratifications theory. Statistical analysis techniques such as factor analysis and hierarchical regression analysis were used to analyze 441 samples. As a result, age, income level, and collectivism were found to influence consumers' choice of Need Fulfillment Video Content genre. It was also found that the motivation of using Need Fulfillment Video Contents consisted of five factors: self-assessment and improvement, sensory stimulation and relaxation, entertainment, escapism and passing time, and following trends. Also, each usage motive influenced the viewing satisfaction in various ways. Based on the results of the analyses, the study concludes with discussion of the academic significance and practical implications for Need Fulfillment Video Contents industry development.

• Cartoon and Animation Studies
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• s.36
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• pp.469-491
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• 2014

Webtoon has developed the method that makes it possible to express sound visually. Also we can also hear sound in webtoon through the development of web technology. It is natural that we analyze the sound that we can hear, but we can also analyze the sound that we can not hear. This study is based on 'dual code' in cognitive psychology. Cartoonists can make visual expression on the basis of auditive impression and memory, and readers can recall the sound through the process of memory and memory-retrieval. This study analyzes both audible sound and inaudable sound. Concise analysis owes the method to film sound theory. Three main factor, Volume, pitch, and tone are recognized by frequency in acoustics. On the other hand they are expressed by the thickness and site of line and image of sound source. The visual expression of in screen sound and off screen sound is related to the frame of comics. Generally the outside of frame means off sound, but some off sound is in the frame. In addition, horror comics use much sound for the effect of genre like horror film. When analyzing comics sound using this kinds of the method film sound analysis, we can find that webtoon has developed creative expression method comparing with simple ones of early comics. Especially arranging frames and expressing sound following and vertical moving are new ones in webtoon. Also types and arrangement of frame has been varied. BGM is the first in using audible sound and recently BGM composed mixing sound effect is being used. In addition, the program which makes it possible for readers to hear sound according to scroll moving. Especially horror genre raise the genre effects using this technology. Various methods of visualizing sound are being created, and the change shows that webtoon could be the model of convergence in contents.

• Sijohaknonchong
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• v.30
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• pp.53-90
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• 2009

This study discusses the aspects of Korean-American Sjjo writers' consciousness of sijo and its significance, focusing primarily on the Sijo-Anthologies of Korean-American authors, "The Moon of the Desert" (1989), "The Dandelion of the Desert" (1994), and The Stars of the Desert" (1996) published by the Sijo Society of America. For this purpose, I thoroughly examined "Notes of Writing Sijo' attached to the authors' works and some other sijos added at the end of the paper. They started writing sijos quite early. Sijo has been recognized as a typical traditional genre of literature, and even foreigners came to write them in English. The following is the summary of the view on sijo propounded by Korean-American authors. Firstly, they follow traditional view on the theory of sijo in terms of its nature and utility, and at the same time they emphasize the utility of katharsis through self expressions. Secondly, their recognition of the value of sijo boils down to its formal patterns. Lastly, they develop the idea of national literature through their significance of writing sijos. They think that they can contribute to the development of national literature as well as the expression of patriotism through writing sijos. Therefore, they recognize themselves as spreaders of Korean culture to the local residents, and as the main stream enhancing the status of Korean culture through the competition with other nations.

• 한국노년학
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• v.40 no.2
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• pp.359-377
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• 2020

The purpose of this study is to examine the direction of the elderly theatre by analyzing an example of the elderly theatre program which is attempted in a way of the welfare of senior citizens in terms of cultural support. To this end, the 'Hoechun Circus' composed of elderly women in Dangjin, South Chungcheong Province, was investigated and analyzed. Research methods uses a case study, performance theory, and peer review strategies to increase the validity of the study. The results of the study are as follows: Firstly, the elderly women intended to communicate with children and adolescents through performance; Secondly, they wanted to communicate with other physically uncomfortable elderly people; Thirdly, they also attempted to communicate with young or middle-aged as well as all residents; Fourthly, they experienced a new genre of theatre to identify themselves in a different ways and enhance their sense of accomplishment and spent their old age pleasantly and informally. Based on these findings, the following suggestions were made. First, we should expand the theatre programs of senior citizens which benchmark the 'Hoechun Circus'. Second, various cases of elderly theater should be studied and policy research to support such elderly theatre is necessary. Besides, educational courses to train elderly theatre experts should also be developed. Third, it should also seek ways for the program to move beyond regional limits and interact with organizations at home and abroad. Fourth, there is room to explore new ways in the field of theater therapy, and the development of sociodrama or psychodrama programs can be an alternative.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.