• The Mathematical Education
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• v.61 no.3
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• pp.457-476
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• 2022

Mathematics textbooks as the main resources to support mathematical teaching and learning are used importantly in Korean lessons. Although the scope of mathematics textbook research has been expanded and the research has increased, few studies have analyzed the overall trends of mathematics textbook research in Korea. This study analyzes the overall trends of textbook research on 418 papers pertinent to mathematics textbooks published in domestic mathematics education journals. The results of this study showed that the proportion of textbook analysis research was the highest, followed by textbook use and textbook development research in order. There were more textbook studies at the elementary school level than at the middle or high school levels. Regarding textbook analysis studies, the most frequent topic was to analyze how specific mathematical concepts were presented in textbooks. Regarding textbook use studies, many studies asked both teachers and students to review the appropriateness of textbooks under development or analyzed the perception and use of specific activities of textbooks based on a survey. Regarding textbook development studies, the most popular topics included the directions and examples of new development, such as storytelling-based or electronic textbooks. This paper finally presented implications for textbook research in light of the domestic mathematics education context and the international mathematics textbook research trends.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.13-25
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• 2019

Since reaching the top in the Billboard Main Album Chart 'Billboard 200' with Love Yourself: Tear in May of 2018, BTS once again took first place after just three months in the 'Billboard 200'(September 3, 2018) with the repackaged album Love Yourself: Answer. It opened the doors to the 'Hallyu 4.0' by conquering the main Billboard Chart with a song sung in Korean. BTS rose to the top on the 'Billboard 200' twice, thus being recognized globally for their musical talent(song, dance, promotion, etc.), and took their place in the mainstream music market of the world. BTS moved away from intuitive interaction such as mysticism, abnormality, irregularity, etc. but instead created their own world(BTS Universe) with fans around the world through two-directional communication such as consensus, sharing and co-existence. They are recognized as artists that went beyond being an idol group that simply released a few hit songs that had now elevated popular music to a new form of art. In result, they retained a highly loyal global fan base(A.R.M.Y.) and they are continuously creating good influence with them. This study analyzed the success factors of BTS using the S-M-C-R-E model as follows. ① Sender: BTS'7-person 7-colors fantasy and 'All-in-one storytelling' strategy of producer Bang Shi-hyuk ② Message: Create global consensus of 'you' rather than 'me' ③ Channel: Created real-time common grounds with global fans through social network platforms such as Youtube, Facebook and Instagram ④ Receiver: Formed highly loyal global fandom(A.R.M.Y.) that extends outside of Korea and Asia ⑤ Effect: Created additional economic value and spread good influence

• Cartoon and Animation Studies
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• s.50
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• pp.101-130
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• 2018

Since the advent of the Smart Devices, the smartphone has become a popular tool to view Webtoon. This phenomenon has caused the convergence of cutting-edge technologies and Webtoons in diverse forms, creating unique versions of Webtoons including, but not limited to Smart-toon, Effect-toon, Cut-toon, Dubbing-toon, Moving-toon, AR-toon, VR-toon, and Interaction-toon. By comparison to these rich diversities of Webtoons in the online industry, there is a lack of academic research on this topic. There are some papers which talk about the different types of multimedia technology conversion and its case presentation or the effectiveness and problems of visual effect, but the effects of these convergence technologies on comic readers' concentration and reading effectiveness have never been investigated so far. Therefore, this paper will discuss the unique method of immersive storytelling that is often used in comics and analyze each aspects of immersive method in technology-converged Webtoons along with its problems. Furthermore, this paper will analyze different aspects of "immersion" and interaction elements that can be found in the popular Interaction-toon, (Encountered). Through this, this paper discusses the positive influence of the interaction elements on comic readers' immersion level and its limitation. To classify the technology-converged Webtoons in terms of the immersion level, the Effect-toon sometimes interferes viewer's flow by using excessive use of multimedia effect, creating information overload. The Smart-toon which applied motions to each frame under horizontal mode of smartphones was a good try, but it hindered the readers' activeness and made it hard for the readers to be fully absorbed in the story. The VR-toon, which utilizes virtual reality gadgets to allow viewers to explore the world of Webtoon was also a nice try to overcome the limitation of vertical screens. However, it often caused dispersion of user's attention and reduced the users' immersion level. The Moving-toon which only emphasized the reading convenience also invaded readers' activeness and disturb users' concentration. On the other hand, the cartoonist Il-Kwon Ha applied high technologies such as face recognition technology, augmented reality techniques, 360-degree panorama technology, and haptic technology to his cartoon (Encountered). This allowed the readers to form a sense of closeness towards the cartoon characters which let the readers to identify themselves with the characters and interact with them. By this way, the readers can be fully immersed in the story. However, technology abuse, impractical production and hackneyed storylining often showed later in the story remains as its limitations.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• Trans-
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• v.12
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• pp.173-222
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• 2022

This thesis examines the 'universe' acceptance phenomenon, currently used as a content strategy in the K-pop field, from the perspective of K-pop audiences, and then attempts to identify their experience of acceptance and the meaning of the universe. For this, tweets related to the universe acceptance experience of Aespa, the group utilizing the universe as a content strategy the most actively, were collected, and this data was analyzed according to a phenomenological approach, an approach to explore the structure of personal experience and the essence of a phenomenon. As a result of analyzing using Moustakas' method, the semantic structure of the universe acceptance phenomenon of K-pop audiences was derived based on 21 thematic units. It was found that current K-pop audiences are experiencing active cultural consumption rather than unilateral or passive through acceptance of the universe. This means that K-pop audiences have the characteristics of active audiences that produce meaning, interact with other fans, and exert influence on outside of community. At the same time, these characteristics affect acceptance of the universe. Simultaneously, through active acceptance experience, it is found that K-pop audiences give a new meaning in the K-pop universe, as "marketing assets", "fandom community assets", and "K-pop industry expansion assets." Among them, the recognition of 'marketing assets' was reaffirmed as a basis for supporting related previous studies. In addition, it derived the new values of the universe in the K-pop field by discovering the meaning of "fandom's specific assets" and "assets of the K-pop industry for expansion". These meanings had not been found that previous studies from the producers' point of view. And then, for the purpose of expanding the value of the universe in the future, it was discussed the direction of the new meaning of the universe. Finally, this study is meaningful in that it revealed the semantic structure of the universe acceptance phenomenon and discovered a new meaning of the universe in the K-pop field. Additionally, it was intended to contribute to expanding the field of research by suggesting various follow-up studies from various perspectives.