• Journal of Korean Theatre Studies Association
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• no.48
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.261-288
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• 2012

This paper attempts to research on the new language in the directing of Ara Kim. She was cranky on working on the stage to experiment with her own style since the 1980s and so opened a new dawn in modern Korean theatre. She leaded the Korean experimental theatre. The background of this experiment is her idea on theatre. And here, we have to look the subject that she setted for the work in Chuksan: Ritual Past, Ritual Present. To her, the theatre has the function of ritual and fest. The theatre suggests universal tragedy given to human as natural life force and has its own agenda to drive people to healing. For it, Ara Kim explores archetypal forms and languages before the fragmentation of genres of art. Her theatre shows the results of experiments in which such languages are recreated with modernized sensibilities. We here, for example by outdoor performance in Chuksan Human Lear, try to interpret the aesthetic principles that body out her ritual theatre. And what we looked at though, is the base of the 'complex-genre-music-theatre', the methode to 'compose' the stage elements and put it all together. The directing of Ara Kim has, in terms of the composition of the stage elements, much of the indisputable artistic value. Her theatre is, so to speak, theatre of image, and it is theatre of imagination that completed by the audience's imagination. Human Lear which has its own characteristic in image fragments, convert the original Lear into a simple tale. It serves as background of the modern ritual that shows the most basic human instincts. We meet in Human Lear a ritual tale with some list of image for the human instincts. The arrangement of image, the montage of scene shows the performance as a kind of artistic space. In Human Lear the space is the natural one. It centers around the arena stage. The objects installed in the space changes it into the laboratory for 'seeing' the happening. The spectators see the performance and at the same time see themselves in the nature laboratory. They see, and equally, they are visible objects. They see the performance and us in the space in which the performance takes place. That is what Ara Kim with her modern ritual really aims. That aim is to this days still in effect. It is a major driver of her experiments to extend the boundary of the theatre. The ritualistic site-specific performance in Akor Wat, Cambodia, A Song of Mandala is the latest great product from her experiments. On the other hand, she continues on her way to experiment with pure stage elements. The 'Station' series(Station of Water, The Station of Sand, The Station of Wind) she recently showed are the non-verbal performance with all the stage elements: movement, sound, body, light, colour, objects and so on.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.123-135
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• 2021

The data processing of this study is focused on keywords related to 'Corona 19 and professional baseball' and 'Corona 19 and professional baseball no spectators', using text mining and social network analysis of textom program to identify problems and view quality. It was used to set the variable of For quantitative analysis, a questionnaire on viewing quality was constructed, and out of 270 survey respondents, 250 questionnaires were used for the final study. As a tool for securing the validity and reliability of the questionnaire, exploratory factor analysis and reliability analysis were conducted, and IPA analysis (importance-satisfaction) was conducted based on the questionnaire that secured validity and reliability, and the results and strategies were presented. As a result of IPA analysis, factors related to the image (image composition, image coloration, image clarity, image enlargement and composition, high-quality image) were found in the first quadrant, and the second quadrant was the game situation (support team game level, support player game level, star). Player discovery, competition with rival teams), game information (match schedule information, player information check, team performance and player performance, game information), interaction (consensus with the supporting team), and some factors appeared. The factors of commentator (baseball-related knowledge, communication ability, pronunciation and voice, use of standard language, introduction of game-related information) and interaction (real-time communication with the front desk, sympathy with viewers, information exchange such as chatting) appeared.

• Cartoon and Animation Studies
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• s.27
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• pp.31-49
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• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.

• Journal of Science of Art and Design
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• v.7
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• pp.5-63
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• 2005

Generally, the meanings of destruction are related in the meaning of demolition, breakdown, into fragments ... and so on, and the similar meanings are twist, crush, demolish, split, cut, into pieces , break up ... etc. Further, it has related in the cruelty and destructive heart which are linked with orgy, Sadism, Necrophilia and so on. The meanings are also expressed by the initial , which are deprivation, deface, defame, deform, degrade, delegitimize, denounce , deride, destroy, devalue, as well as debase, debunk, declaim, declassify, decry, delete, denigrate, deprecate, despise or detract ...and so on. Dario Gamboni has discussed the meaning in his book as two categories Iconoclasm and Vandalism. And the similar meanings could be found in the words which has the initial of , like abase, abate, abhor, abjure, abolish, abridge, abuse ...and so on. Even though the distinct meanings of Iconoclasm and Vandalism, it is not easy to distinguish clearly between the differences when the results are accomplished in contemporary paintings because of the similarity of the results. In korean vocabulary there are no similar words to distinguish between the meanings of destruction and deconstruction, and the deconstruction is not recorded in the general dictionaries. However the meaning of is diminishing, separation, contrast and so on. So the unification of the word as do-construction is not construct, minus construction, reverse construction. And Vincent Ditch explained that there are the meaning of destroy the text. From Jacques Derrida, the deconstruction strategy is to criticise the world of traditional metaphysics and logocentrism, and not to reconstruire the philosophical meaning of texts but $d\'{e}construire$ them. And Saussure emphasized that the signifers could have more meaning that there can be more signified in traditional texts in the art. as a result, deconstruction is explained that there are many signified meanings in a signifer. In this thesis , from using the meanings of destruction and deconstruction, to distinguish the expressive skills in contemporary art works are arising. Therefore, special methods which are linked in the destruction styles are selected. As a result, the two different purposes of destruction is arising, one is enmity destruction and the other is self destruction another word, auto destruction or destruction to create The enmity destruction can be distinguished by the two category Iconoclasm and Vandalism. They come from the moment of different historical aspect is arising and want to attack the Icon or masterpiece this concept is from the study of John Philips and especially iconoclasm is linked with religious and artistic heart, but Vandalism is come from the political attack. Sometime, this distinguish is not clearly arising, because the two aspects are co-related in the attack. As a result, firstly, the Iconoclastic controversy had arisen in the methods of Dadaism which has developed by Man Ray, Francis Picabia and Marcel Duchamp. They want to attack the pre-established master-pieces and painting spaces, and they had 'non-artistic attitude' not to be art. Since 1980, the German artist Anselm Kiefer adapted the methods and made them his special skills so he had tried to paint tough brush strokes and draw with hugh pallette image line and fire and water images , they can be the image attack as the Iconoclasm. secondly, the model of vandalism is to be done by hammer, drill, canon and so on. the method is to attack the content of painting. Further, the object of destruction is bound by cords and iron lings to demolish or to declare the authority of pre-statues; it symbolize the pre-authority is gone already. Self-destruction based paintings are clearly different in the purpose of approaching the art work. First of all, they can be auto-destruction, creative destruction and metamorphosis destruction, which is linked with the skill the material aspect and basic stature, and sign destruction or signifier destruction, which is link with the inner meaning destruction that is considered as the Semiotical destruction in post-modern paintings. Since 1960, the auto destruction is based on the method of firing, melting, grinding and similar skills, which is linked with Neo-Dada and reverse-assemblage. Metamorphosis destruction is strongly linked with the basic inner heart price and quality, so it can be resulted in the changedness of expectation and recognition. Tony Cragg has developed the skills to metamorphose the wood as stone or iron as cloth and stone as sponge and rubber and so on. The researcher has developed the same style in the series of since 2003. The other self-destructive methods are found in the skill of sign destruction. In the methods the meaning of the art is not fixed as one or two, but is developed multi-meaning and differ from original starting situation, so Jacques Derrida called the difference meaning in deconstruction. It is the destruction of textes. These methods are accomplished by David Salle, Francesco Clemente, and recently Tracy Emin, who has developed the attacking heart in the spectators' emotion. Sometime in the method of self-destruction, it is based on horror and shock, the method is explored by Demian Hirst and Jakes and Dinos Chapman. Their destructive styles stimulate ambivalent heart and destroy original sign of girl and animals.

• Cartoon and Animation Studies
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• s.28
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• pp.235-263
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• 2012

Regarding the theme park business as an area of cultural content business, this study focuses on the trend of pursuing indoor theme parks as a small-scale small capital strategy escaped from the existing approach oriented to large-scale outdoor complex theme parks. It is because although existing large-scale outdoor complex theme parks require the capital with the scale of hundreds of billion won and also high-level technique and the latest operational know-how that they have a great barrier for new entry as well as enormous risk, the rent indoor theme parks succeed in market entry with efficient risk management and flexible market strategies. Thereupon, this study examines the current status of the children's indoor theme park market with Korean characters as their theme as a new market among the indoor theme parks and also investigates the market strategies of this market in the two aspects of expansion: the expansion of Korean characters' property value and the expansion of the local theme park market. For that, this article reviewed the advanced researches on theme parks and divided the types of theme parks existing in Korea with the criteria of classification by space and theme or classification by main users. Also, among the children's indoor theme parks with Korean characters as their theme, this study visited five ones located in the capital area to examine the current status. And about two located in the capital area and also four in the local area, the current data were received from the persons in charge of the companies for analysis. Also, with the subjects of spectators visiting the 'DIBO VILLAGE, Cheonggye-cheon' newly opened on April 25th, 2012, the research on satisfaction was conducted for analysis. Through that, this study analyzed the structure of the existing children's indoor theme park business with Korean characters as their theme and suggested the ground to analyze the effectiveness of market strategies being implemented. It is expected that this study will establish the clues of systematic and profound discussion for the indoor theme park business that can be said to be the niche market of the theme park business and allow the small-scale areal indoor theme parks to be examined as a significant business model for the local theme park industry. In the aspect of character business as well, it is expected that this will give a chance to establish a new model of spatial storytelling expansion in terms of the property value of Korean animation characters.

• Korean Journal of Agricultural and Forest Meteorology
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• v.11 no.4
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• pp.192-205
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• 2009

The unexpected wind over the Mt. Hwawang on 9 February 2009 was deadly when many spectators were watching a traditional event to burn dried grasses and the fire went out of control due to the wind. We analyzed the fatal wind based on wind flow simulations over a digitized complex terrain of the mountain with a localized heating area using a three dimensional computational fluid dynamics model, CFD_NIMR_SNU (Computational Fluid Dynamics_National Institute of Meteorological Research_Seoul National University). Three levels of fire intensity were simulated: no fire, $300^{\circ}C$ and $600^{\circ}C$ of surface temperature at the site on fire. The surface heat accelerated vertical wind speed by as much as $0.7\;m\;s^{-1}$ (for $300^{\circ}C$) and $1.1\;m\;s^{-1}$ (for $600^{\circ}C$) at the center of the fire. Turbulent kinetic energy was increased by the heat itself and by the increased mechanical force, which in turn was generated by the thermal convection. The heating together with the complex terrain and strong boundary wind induced the unexpected high wind conditions with turbulence at the mountain. The CFD_NIMR_SNU model provided valuable analysis data to understand the consequences of the fatal mountain fire. It is suggested that the place of fire was calm at the time of the fire setting due to the elevated terrain of the windward side. The suppression of wind was easily reversed when there was fire, which caused updraft of hot air by the fire and the strong boundary wind. The strong boundary wind in conjunction with the fire event caused the strong turbulence, resulting in many fire casualties. The model can be utilized in turbulence forecasting over a small area due to surface fire in conjunction with a mesoscale weather model to help fire prevention at the field.

• Cross-Cultural Studies
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• v.50
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• pp.31-51
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• 2018

The concept of 'monsters' have become popular, again, in recent times. A number of 'monster narratives' that discuss monsters such as zombies, humanoids, viruses, extraterrestrials, and serial killers have been made and re-made in popular media. Noting such an interesting cultural context, this article attempts, first, to find out some essential prototypical elements of a monster narrative and, second, to relate it with a catastrophic narrative. Correspondingly, the word 'monster' has been used as a conceptual prototype category that denies universal and clear definition, which makes it as one of the most widely used and familiar subjects of the use of metaphor. The prototypical meanings of various monster figures can be converged on a certain creature of being in this way held out as bizarre, curious, and abnormal. The monster figure that surpasses existing normality is also connected to 'abjection,' such as something that is cast aside from the body such as the bodily functions seen in its associated blood, tears, vomit, excrement, or semen, and so on. Nevertheless, both the monster figure and abjection produce disgust and horror in the minds of ordinary spectators or readers of media using this metaphor to heighten excitement for the viewers. The abject characteristic of the monster figure also has something in common with the posthuman figure, meaning to apply to a category of inhuman others who are held outside of the normal category of human beings. In the similar vein, it is natural that the most typical monster figures in our times are posthuman creatures embodied in such forms as seen with zombies, humanoids, cyborgs, robots, and so on. In short, the monster figure includes all of the creatures and beings that disarray normalized humanist categories and values. The monster narrative, in the same sense, is a type of story that tells about others outside modern, anthropocentric, male-centered, and Westernized categories of thought. It can be argued that a catastrophic narrative, a literary genre which depicts the world where a series of catastrophic events demolish the existing human civilization, ought to be seen as a typical modern-day monster narrative, because it also discounts and criticizes normalized humanist categories and values as is the result of the monster narrative. Going beyond the prevailing humanist realist narrative that are so familiar with existing values, the catastrophic narrative is not only a monster narrative per se, but also a monstrous narrative which disrupts and reinvents currently mainstream narratives and ways of thinking.

• Korea Science and Art Forum
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• v.27
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• pp.277-288
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• 2017

The number of science museums in Korea has expanded quantitatively from 72 in 2008 to 128 in 2016. This study started with the fact that the government puts a lot of budget into building a science museum, but there are more than one quarter of science museums with less than 50 spectators per day and many inefficient institutions. The number of visitors is an important factor in improving the efficiency of the science museum operation. The purpose of this study is to analyze the relation between the service quality of the science museum and the customer satisfaction and the intention to revisit and to find out what kind of effort should be concentrated in the science museum to attract more visitors. Questionnaires were written in the exhibition, education, and culture fields of the Gwacheon National Science Museum. The results were derived by frequency analysis, reliability analysis, factor analysis, and multiple regression analysis. The results and contents of the study are as follows. First, in the field of exhibition, the quality of exhibition facilities was expected to affect customer satisfaction and intention to return, but did not have a meaningful relationship. Second, the education sector has been found to affect customer satisfaction and return intention in all aspects of service quality (operation and contents, instructors, educational facilities and environment). Third, in the field of culture (event), the quality of the cultural program influences the visitor satisfaction, but it does not affect the intention to revisit. The science museum can provide satisfaction to visitors by combining activities such as science and arts. Despite the limitations, it is necessary to make efforts to improve the visitor satisfaction and revisit by proceeding with the convergence research on the entire National Science Museum in the future.

• Asia Marketing Journal
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• v.13 no.4
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• pp.29-54
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• 2012

Recently, as film has been admitted as the artistic merit and higher value-added business, the past studies on film have been lively carried on various fields. Especially, the film business is thought to be value-added business and has explored the causes of influencing spectators. However, there are no researches enough to explain what induces the choice and diffusion of the film. The film is not only hedonic products but also typical example of experiential products. So how to process film formation plays important roles in explaining the procedures of forming preference on the film and the movies spread more widely. But the great part of study of films has been concentrated on exploring hedonic factors of influencing spectator's choice. Until now there is not enough study for the relationship between experiential information processing and film preference. To explain film's preference, our study focuses on preference fluency and processing fluency that can provide an insight for our question about the relationship. In this article, to explain the procedures of processing experiential information and forming preference on the film, our study focuses on finding the relationship between film's processing fluency and film's preference fluency and explores the factors that affect film's processing fluency. To achieve the goal of this study, we distinguish factors of film's conceptual fluency from factors of film's perceptual fluency and explore the paths from the factors to film's preference fluency. The factors which have effects on perceptual fluency are hypothesized to be distinction of image expression, distinction of sound expression, correspondence between actors' image and their role. The factors which have effect on conceptual fluency are supposed to be well-organized story, suitability of lines expression. The experiments in which students were sampled at 'C' university were conducted in 2010 (december). Data collection was proceeded through questionnaires. We test the hypothesized model by using structural equation modeling(Amos 17.0). The fit indices for the model are as follows : x²=416.266(df=213, p=0.00), GFI=0.855, AGFI=0.812, RMSEA =0.069, IFI=O.925, CFI=0.920, TLI=0.905. According to the guidelines, there is evidence that our measurement model fits data. The results of empirical study are as follows. The path from film's perceptual fluency to film's preference fluency is supported(estimate: 0.223, C.R: 2.641). The path from film's conceptual fluency to film's preference fluency is supported(estimate: 0.397, C.R: 4.863). The path from distinction of image expression to film's perceptual fluency is not supported(estimate: 0.113, C.R: 1.665). The path from distinction of sound expression to film's perceptual fluency is supported (estimate: 0.190, C.R: 2.042). The path from correspondence between actors' image and their role to film's perceptual fluency is supported(estimate: 0.686, C.R: 5.566). The path from well-organized story to film's conceptual fluency is supported(estimate: 0.396, C.R: 4.023). The path from suitability of lines expression to film's conceptual fluency is supported(estimate: 0.536, C.R: 5.441). Concludingly, our study explored the influencing factors of film's processing fluency inducing film's Preference fluency. First, film's perceptual fluency and film's conceptual fluency have positive effects on film's preference fluency. Second, distinction of image expression is not significant on film's perceptual fluency, but distinction of sound expression and image's correspondence of actors' image and their role have positive effects on film's perceptual fluency. Lastly, well-organized story and suitability of lines expression have positive effects on film's conceptual fluency.