• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.429-437
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• 2011

Movie network as a social network shows power-law distribution that is one of distinct properties in scale-free network. We constructed movie network from 799 Korea movies that screened from 2000 to 2009 and analyzed structural properties of the network. The 799 movies was classified three groups as a spectator mobilizing power. One million spectators mobilizing power movie was denoted the first class. The best 10 movie directors who produced at least three movies for ten years and had 70% the first class movie of them were selected. We also preferred the best 20 movie actors who played at least five movies for ten years and had 70% the first class movie of them. We re-constructed core movie network that composed the best 10 directors, the best 20 movie stars, and 157 movies that were produced by the directors or were played by the movie stars. We predict a possible combination of the director and movie actor as a category of the movie that has highly spectator mobilizing power. Here, we provide insight and method for producing high spectators mobilizing power movies

• Lingua Humanitatis
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• v.7
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• pp.227-246
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• 2005

The difference between presentation of cities in the European modern drama and its counterpart the American modern drama denotes and comes from two very different images of cities. While the European modern drama presented cities that were desolate and fantastic to certain measure, the American modern drama presented the images of actual cities that can be identified by the spectators and readers. Although one cannot 'actually' identify any actual representation of cities in both the European and the American dramas, the images of cities can be discerned in the dialogues of the characters in the plays themselves. In this perspective the images of cities that are represented in any work of modern drama are actually represented through metaphors and connotations. The images in this instance rests and can only be identified within the boundaries of psychology. The dialogues are means through which the author communicates with the spectators. Because drama is above all categorized as being a work of text before representation, deciphering drama also falls in to same cadre as any other literary texts. Through the means of 'decontextualisation' the reader/spectator identifies with the associated images that the text proposes.

• Journal of Digital Contents Society
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• v.8 no.2
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• pp.129-139
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• 2007

The past interactive art was only attempted through interdisciplinary study of art and science. As it goes to the digital age, however, the artistic methods based on digital technology have been gradually increasing in combination with other media in various ways. This paper analyzes how spectators' individual selection of viewing-route increases the interaction between spectators and interactive art work by focusing on $\ulcorner$Meta 4Saisons$\lrcorner$. In the process of route selection, each spectator selects his/her own viewing-route almost different from the others', respectively. This individual viewing-route makes each spectator placed in a position of individual interaction, thus leading him/her to the experience of various feelings through the act of immersing in the interactive art interface.

• Journal of Information Technology Applications and Management
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• v.18 no.3
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• pp.91-110
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• 2011

Korea professional baseball industry has grown to take the lion's share of the domestic sports industry, but still does not make break even. The purpose of this study is to examine the financial impact of adopting the Customer Relation Management (CRM) approach on the profitability of Korea professional baseball industry. We use a measuring tool called entropy used in ID3 decision tree algorithm. In the paper, we specify five the most important factors that affect spectator satisfaction based on the previous literature, perform survey analysis, calculate entropy values, and find the results. We predicted the change in revenues when we adopt CRM by checking the spectators' willingness to pay more when the conditions of each factor are improved. We find that we can reap significant fruits of the effect of CRM introduction through enhancing 'game content factor' and 'game promotion factor' among the five factors. We also find that we can increase the revenues of domestic professional baseball teams to 2.4 times or 2.1 times the current level if we manage intensively those two factors respectively. It is very surprising to see that the improvement in total revenues makes both ends meet for domestic professional baseball teams. This clearly demonstrates the effectiveness of CRM approach in improving the profitability of organizations.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.4
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• pp.1595-1603
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• 2013

This study uses the Importance Performance Analysis (IPA) on viewing motivation for the revitalization of Korean creative musicals. The IPA is the evaluation techniques to simultaneously compare and analyze relative importance and achievement of each attribute for multi-attribute models. This analysis uses the discerning method by displaying the matrix that includes the factors about which customers care and customer satisfaction on each factor. The customer satisfaction is determined by customer expectation for each attribute and its implementation level. This study, through this method, exams the importance and satisfaction level on attributes of viewing motivations for Korean creative musicals.

• Korean Institute of Interior Design Journal
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• v.17 no.3
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• pp.68-76
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• 2008

This study investigated composition elements and estimation of image in lobby from user viewpoint that is the central space of local cultural institution, and spectator mainly utilizes. Progress process of study develops investigation device including literature investigation, professional panel and lobby space image measurement tool through on-the-spot probe and, executed supporting research to spectator. As the result of the study, first, lobby space image exerts absolute effect to local cultural institution image-building, and is grasped on constituent that floor, ceiling, entrance and lighting and decoration is important in image-building of lobby space. Second, the image of the important lobby space was grasped in order of convenient image(M = 3.98) bright image(M = 3.87), and cozy image(M = 3.80). Third, the results on investigating semantic structure of the lobby image, emotional factor, styling factor, spatial factor, and peculiar factor are composed of important factors that decides image of lobby space. Fourth, as the result of image analysis for lobby space, the degree of satisfaction for the local cultural institution was entirely low against the importance. In particular, the image for convenience, individuality, locality and dignity was not sufficient in all the three places. Therefore, lobby design of local cultural institution shall also suggest more various lobby space image from culture oriented viewpoint.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.379-389
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• 2019

Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1087-1101
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• 2009

The ongoing attempt to classify and categorize Jonathan Swift's literary work, A Tale of a Tub, as either satire or parody has not only opened issues concerning authorial intent and a present voice but also surfaced questions as to whether Swift identifies with what he is criticizing, thereby becoming the subject he schemes to destroy in his own literary work. In addressing these critical problems, my paper questions the boundaries of genre and analyzes the Tale, not within the conventional terms of literary genre, but by applying Bakhtin's theory of the carnivalistic impulse to Swift's Tale. Rather than focus on finding the author or identifying a voice within the text, Bakhtin's literary vision of carnivalization allows a means of subverting all rules yet holding the work together to present a shocking experience for the reader. Within the Tale, carnivalistic participation includes the reader who at one point is given the detached position of subjective spectator yet eventually decrowns the reader as both a carnivalistic participant and object of the same ridicule and derision once used to judge others. In conclusion, the Tale is revealed as a mocking commentary on the efforts of human beings/participants/writers to ignore the carnival aspects of existence and attempt to elevate themselves to the privileged role of spectator/reader.

• Journal of Distribution Science
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• v.10 no.8
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• pp.25-34
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• 2012

Understanding customer' lifestyles important for banks because it will guide in determining marketing policies, such as services, pricing, service delivery and promotion decisions. From the customer' lifestyle, banks will know what kind of customers' attitudes, interests and opinions, so they also will understand what the costumer' needs and what services needed by them. For Islamic banks, customers understanding are important because, nowadays, the competition of the banks is not only with other Islamic banks but also with the well-established conventional banks offering Islamic products or services The aims of this research paper are to describe what factors underline the customer's lifestyle of both Islamic and conventional bank, to segment the bank customers based on their lifestyles and investigate the profile of each segments, to compare the characteristics of the segments, and to identify marketing policies based on the characteristics. The population of the study is banking customers in Indonesia, in which the researchers have used judgment sampling as sample selection. There were 186 customers of Islamic banks and 244 customers of conventional bank as respondents in this study. Statistical methods employed were exploratory factor analysis and cluster analysis. The finding of the study shows that there are twelve factor underlining the customers' lifestyle, namely: factor of fashion conscious, internet usage, sports spectator, financial and technology optimism, price sensitivity, independent, compulsive housekeeper, new brand tryer community activities, opinion leader, credit usage, and homebody. In addition, for Islamic banking, there are two market segments, namely fashionable-independent and innovative-social segment. Based on the lifestyle characteristics, the first segment has higher level in factor of fashion conscious, homebody, independent, optimism and price conscious, which is therefore called fashionable-independent segment. On the other hand, the second cluster has higher level in factor of new brand tryer, community minded, sport spectator, credit user, internet usage, opinion leader, and compulsive housekeeper, which is therefore called the innovative-social segment. Furthermore, for conventional banking, there are also two segments, namely persuasive-optimistic and sensitive-independent segment. The first segment has higher level on some factors, namely: opinion leader, optimism, internet usage rate, credit usage level, sport spectator, and new brand tryer. On the other hand, the second cluster is characterized by higher level in factor of price conscious, confidence, community minded, homebody, fashion conscious, and compulsive housekeeper. Managerial implications for the management of Islamic banks could be identified in this study as follows. Firstly, the twelve lifestyle factors of this study could be an alternative view in observe Islamic banking customers. The domination of both the fashionable conscious and the internet usage factor show that the aspects are quite instrumental in perceiving the customer' lifestyles, in which reflects the importance of these two aspects to customers. Secondly, in serving their customers, Islamic banks need to understand the customer lifestyle, in which the lifestyle segments found in this study provide a guide of how their needs were reflected. Finally, by understanding the segments and the characteristics each segment of the conventional banks, Islamic banks could adjust their marketing strategies differently from the conventional banks.