• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.151-152
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• 2014

• Journal of Korea Game Society
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• v.19 no.6
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• pp.37-48
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• 2019

This paper aims to clarify the game performance and its principle and operation method at the depth of successful content through gameness transition, which is one of the transmedia phenomena of games. This paper investigated the current state of gameness transition and analyzed the game structure and working principle by using Chris Crawford's creative expression taxonomy model. As a result, the types of gameness transition could be extracted into space exploration type, stage type, reasoning competition type, and mutual competition type.

• Journal of Convergence for Information Technology
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• v.11 no.8
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• pp.119-128
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• 2021

This study defines the integrated game experience of game users that across internal and external media of game as the transmedia enjoyment of game. This study categorizes the cases and analyze features. Game users have four types of transmedial enjoyment. The expansion type is characterized by the user's desire to solve the uncertainty, and the transmission type is characterized by the emergence of alternative play spaces. In the permeation type and the circulation type, it is observed users participate more in the content can be re-contextualized and based on real world knowledge.

• Journal of Korea Entertainment Industry Association
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• v.15 no.6
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• pp.35-54
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• 2021

This study examines the characteristics of CBS's Kim Hyun-Jung's News Show(hearafter News Show) and the change to transmedia. The distinguishing characteristics of News Show compared to radio-based current affairs programs are as follows. First, despite its time limit, it adopts the form of investigative reports or investigative documentaries to uncover the truth of the events through 'Detective Son Su-Ho', etc. Second, News show's interviews have avoided biased stance in the reporting of minority issues by interviewing the affected parties anonymously including people involved in incidents and accidents, bereaved families, and other victims. News Show has been producing a transmedia content called 'That Honey Show' (a show that reads comments as fun as honey) since November 2018. 'That Honey Show' is broadcast in real time on YouTube right after the News Show radio broadcast ends. As a form of spin-off content, 'That Honey Show' breaks down the boundaries among staff, MCs, and guests, as well as shifting roles by using 'vice characters'. The female host, Kim conducts interviews with the main characters related to various issues and extends the fixed identity of current affairs shows to the everyday politics and cultural realms. Thus she draws active participation and responses audience. This paper analyzes two representative broadcast cases of 'That Honey Show'-first, the case of resistance and activity of the BTS fandom ARMY in the US presidential election, and, second, the case of reporting on the Nth room incident. This analysis considers the critical participation of digital citizens and the effect of fostering a sense of community in the current affairs show in the transmedia era.

• Cartoon and Animation Studies
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• s.48
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• pp.173-197
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• 2017

The purpose of this study is to investigate the extensibility of transmedia contents of fantasy genre, and then to examine the characteristics of trans-media contents and analyze how the contents of fantasy genre have become trans-media. The definition and characteristics of the trans-media are distinguished from the existing theories such as One Source Multi Use (OSMU) and Crossmedia. At the same time, this study analyzes the extensibility of the trans-media contents applied to the fantasy genre and it compares with other medias such as novels, videos, games, etc. This shows that the game of the throne was more like to the second order adaptation through video adaptations that succeeded in success compared to the original novels that in expanding into trans-media compared with existing fantasy genre contents represented by the Lord of the Ring. The difference is that although the game of the throne is a fantasy genre content, it does not inherit the existing database genre elements, and it has been found that it has a different aspect from the existing customary form from the role of the character to the whole narrative. The analyzes presented in this study are equally valid for single content, not just for transmedia specific elements.

• Trans-
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• v.4
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• pp.1-36
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• 2018

This paper summarizes some of the contents of the 7th International Symposium "Classical Art and Digital" of the Transmedia Institute(TMI), held on October 31, 2017. The purpose of this year's International Symposium was to look back on the genre and the aesthetic history of classical art and to create a place for discourse about the recognition of classical art in the modern digital era. In the first part of the discussion about the duplication of the original and virtual imitation, three presentations on "Visual Image Art and Digital" were introduced. The conclusion of this first discussion is summarized by urging the movement of viewpoint as 'systematic change of the routine aesthetic process'. In the second part on "Performing Arts and Digital", we realize that we need to definitize the 'new directive term system' necessary for the era of digital convergence and performance. In this process we can refer to the need for the emergence of a new aesthetic basis. Two papers in the second part of the paper will introduce the study of 'dance' performance. Some of these studies are reintroduced at the conclusion. The theme of this year's International Symposium can be expected to provide a foothold for the forthcoming second 'Laocoon sculpture argue'. In short, behind the various controversies in the history of aesthetics, this year's conference is concluded with a call for the need to flexibly read the enormous flow of 'art' and 'mental heritage left by art'. It is said that this year's international conferences are presenting the basis of practical and systematic theories for the upcoming fusion media era.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.295-306
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• 2022

This study examined the effects and roles of transmedia such as trailer (i.e., trailer) and webtoon OST (i.e., Original Sound Track), which have recently served as extended content in webtoons. In recent years, the number of transmedias using webtoons has increased rapidly, and production and consumption in various directions have been taking place. However, studies on whether these contents lead to positive emotions and attitudes toward webtoons are not actively conducted. Therefore, this paper examined the effect through loyalty and perceived enjoyment, and found that 'increasing immersion in content through transmedia' plays a major role as a major variable. In addition, it is determined whether these mechanisms appear differently by gender, and in the case of women, media consumption tends to be based on emotional signals compared to men, so transmedia will further increase the level of immersion, but webtoon content did not show gender effects on media consumption. This is a meaningful result that shows that in general, media consumption methods according to gender appear differently in webtoons. Therefore, based on the results, this study presented directions and implications to keep in mind when planning the production of various transmedias using webtoons.

• Trans-
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• v.5
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• pp.29-48
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• 2018

This study examines the popularization strategy of domestic dance field through media platform and examines it based on the interaction of cultural participants. What does popularization of dance ultimately mean? What are the characteristics of media-based popularization strategies? Can all of these attempts be understood as popularization strategy with same attributes? The purpose of this study is to examine the characteristics of broadcasting media, which are used as the main medium of dance popularization strategy, and the online platform that recently attracts attention, and to focus on the communication process of cultural participants related to each media. Through this approach, media based activities turns out to be Mass Culture, controlled by businessman, capital, making it impossible for the creator to communicate directly with the audience, and producing the cultural products planned by the businessman. On the other hand, an online community platform is classified as Popular Culture since it allows creator to communicate and interact with audience without the direct involvement of the businessman and guarantees the rights of creation. Thereby it function as appropriate media platform and expand the discourse on popularization of dance in Korea.

• Journal of Korea Game Society
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• v.17 no.1
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• pp.79-88
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• 2017

This study aims to examine attributes of fandom related to storytelling of media conversion in terms of division of obsession and hysteria from the psychoanalysis. Fandom of crossmedia storytelling represented by adaptation of the original is the subject who experienced a great satisfaction from the original and also the obsessive subject who does not accept easily story transformation by adaptation. Besides, fandom of transmedia storytelling is the hysterical subject who recognizes lack of the storyworld and enjoys such a lack. The original fandom of crossmedia enjoys phallic order in the authority of an original author and the original storyworld, and fandom of transmedia experiences continual and infinite 'other enjoyment' through active and direct experience beyond the linguistic order. This study is a theoretical argument to identify characteristics of fandom shown from both extremes of media conversion through comparison of obsession and hysteria. It is expected to prepare a foundation for understanding fandom of media conversion through complementing qualitative analysis on the real fandom in the follow-up research.

• Trans-
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• v.8
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• pp.55-78
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• 2020

Among various tools for pop music composition, what is most frequently used by K-Pop composers is the digital sequencer program, or DAW software (Digital Audio Workstation). When it comes to making commercial music such as K-Pop, the proportion of using these programs is extremely high. By using those software, composers come to undergo an entirely different art creation process. User interface (UI) of the DAW software has a profound effect on the process of making music, particularly vis-a-vis usability and visibility. This study is an attempt to analyze the Avid Pro Tool's UI with a focus on its inherent characteristics revealed in relation with the real effect throughout music composition. This study categorizes the UI elements in the Edit Window of the Pro Tools as Grid, Track, Slip, Clip, and Fade. Those categorized elements would be analyzed through Douglas Morgan's Creative-Process theory, thereby clarifying how visual interface of the DAW software functions in music composition practically.