• The Journal of the Korea Contents Association
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• v.19 no.2
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• pp.296-304
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• 2019

The Amazon Go was the catalyst of O4O era. O4O is an advanced business model from O2O, which is the integration of offline service to online, especially through smart phone network. We also find the O2O strategy of digital contents companies such as Kakao and Line. This study examined the relation between online character experience and offline purchasing intention on related character products. The SEM was designed on the former study that based on the theory of user experience and brand attitude. The result of this study shows that the users' online experience have influence on the purchasing intention of offline related products and there exist the mediating routes of satisfaction of user experience, brand preference and brand reliability. There are no statistical support to the relation between satisfaction of user experience and purchasing intention. These points illustrate what marketers better to focus on transmedia strategies.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.184-193
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• 2021

Interactive documentary refers to a new style of documentary that is created and accepted through active interaction. It is attracting attention as a platform that forms a public sphere and mediates audiences to participate in social change. However, the possibilities was not systematically explored, and there was insufficient consideration on how to realize them. In this paper, discussions on the political aesthetics of Walter Benjamin are examined, and the media characteristics of interactive documentary are analyzed through text mining. Then, by connecting the two to each other, we draw a map of the political and aesthetic possibilities, and based on the map, we analyze the actual works. This study has the value of establishing a theoretical framework for the possibilities of interactive documentaries. In the follow-up study, we will consider the practical strategy of interactive documentary as a transmedia activism and develop a practical analysis and planning methodology.

• Journal of Korea Society of Digital Industry and Information Management
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• v.11 no.2
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• pp.153-166
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• 2015

This paper proposes a trans-media branding for the trans-media-based cultural content marketing strategy. Trans-media brand analytical framework is proposed with previous studies. And mobile messenger Character 'Line Friends' is analyzed for the text. Trans-media branding is accessible through a multi-platform in the technological environment. Consumer culture, as well as participate include business models to generate revenue also as brand equity. While the character elements that make up the story from the perspective of cultural content storytelling act as an independent cultural goods. Character is segmented elements. Therefore, trans- media branding of the characters are more meaningful. 'Line Friends' trans-media branding can be summarized as follows: First, it takes advantage of the characteristics of the existing Information-Technology-based mobile. Second, it puts consistently found the content of the attributes of Mobile Messenger 'communication' and 'friendship'. And third, while the content of each platform is constantly linked with other platforms, the brand is positioned inside the window effect.

• Trans-
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• v.10
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• pp.51-72
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• 2021

This study focused on the media characteristics of internet live broadcasting in the New Media Age. To this end, analyzed the media characteristics of internet live broadcasting through SMCRE models consisting of source, message, channel, receiver, and effect. In addition, considered the unique feedback of internet live broadcasting that prior studies overlooked. It also presented problems with internet live broadcasting and prospects for future development of internet live broadcasting.

• Trans-
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• v.13
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• pp.17-34
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• 2022

This paper summarizes the differences and characteristics between virtual worlds and virtual reality, and advances research on immersive elements for improving the reality of virtual worlds. The immersive elements are broadly studied by separating the sensory immersive elements and the technical immersive elements, focusing on the sensory organs of sight, perception, touch, and hearing, and investigating the correlation between these elements to improve the immersive feeling in content design. Set standards.

• Trans-
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• v.14
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• pp.65-92
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• 2023

The knowledge of the narrative agent not only constitutes the content and meaning of the narrative itself, but is also closely related to the emotional response of the recipient. Also, the disparity of knowledge between narrative agents is an important factor in making a narrative richer and more interesting. But It tends to be treated as a sub-topic of narration theory or genre/style studies rather than an independent subject of narrative studies or criticism. In this paper, I propose a model that can systematically and quantitatively analyze the knowledge of narrative agents. The proposed model consists of the knowledge structure that represents a narrative, the knowledge state that expresses the knowledge of narrative agent as a degree of belief, and the knowledge flow that means changes in the knowledge state according to the development of events. In addition, the formal notation of the knowledge structure and a probabilistic inference model that could obtain the state of knowledge were proposed, and the knowledge structure and knowledge flow were analyzed by applying the model to the actual narrative. It is expected that the proposed model will be of practical help in the creation and evaluation of narratives.

• Cartoon and Animation Studies
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• s.51
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• pp.159-179
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• 2018

As digital media evolves, image changes have evolved from 2D to 3D. At the end of the 1930s when the US overcame the economic crisis and met the Second World War, people needed a hero to escape reality. In DC (Detective Comics), superhero comics started to become popular by making superhero series mainly with Super Man and Bat Man. Timely Comics, founded by Martin Goodman in 1939, also published Marvel Comics, the first comic strip in epochal comics on October 1 of the same year. From this point on, Marble has developed mainly in the cartoon industry. However, in the development of the times and the change of media, Marble boldly grasps the influence of Hollywood movies from the comic centered development system, and moves from the cartoon market to the movie market. Especially, the trans-media storytelling strategy was well reflected in the movie "Avengers" series, which Marvel produced after the merger with Disney. In this paper, When Marble Comics compares with the time when the comic book industry developed before the merger and the time when the movie industry was focused after the merger with Disney What kind of change and development, and The purpose of this study is to investigate the causes of these changes.

• Cartoon and Animation Studies
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• s.42
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• pp.213-240
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• 2016

The character is not dependent on an original story world any more. It is not limited to it's own story, but gets out and expands the other story with new character, background story, and event regardless of genre and media. The purpose of this study is to analyze why should this phenomenon happen from the media perspective and to build a character storytelling model through the specific examples. With the advent of the digital paradigm the storytelling model is emphasized character storytelling. Character is no longer limited to just one narrative and extended beyond the boundary narrative, media and genre. There are four background. First, disappearance of the big story with the advent of postmodernism and the emergnece of small story. Second, the emergence of fandom culture and charater's liberalization. Third, character as public goods with database. Fourth, changes in author's position. In fact, in the traditional narrative theory there has been discussion about the character all the time. But character storytelling meets transmedia storytelling, discussions were accelerated. The character was preceded by a narrative independent existence. Even if that character has occurred even while leading cause narrative. In this paper, we suggest two model as specific methodology to expand the story world fixed character. One is phychology transition, another is roll transition. This study get the value to build the new storytelling model with digital paradigm.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.134-144
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• 2011

Crossmedia Storytelling is receiving attention as a new style of description in the age of limitless competition and infinite fusion among media. Crossmedia Storytelling specifies a form of storytelling carried out through mixed usage of plural media, such as televisions, movies, and web services. It is different from OSMU strategy in that plays one source of contents according to the characteristics of various media while Crossmedia Storytelling demands users' active participation. Moreover, it is also slightly different from Transmedia Storytelling in the point that narratives of each media are not complete themselves and only through effectively combining plural media can the whole story fully enjoyed. This research aims to analyze how users move among media in terms of Crossmedia contents by examining cases of Swedish interactive drama series , from Australia, and from the United States. To do so, first, the paper looks into the principles of Crossmedia communication and examines that it is based on online word-of-mouth communication, such as viral marketing. As a result, the following was found in the cases of Crossmedia Storytelling: negative stories that arouse users' emotional reactions & users' participation are effective, and the set-up of Sneezer, which causes the knowledge gap, is very important. It was also found that users' participation was actively taking place through online WOM communication in Crossmedia Storytelling.

• Journal of Multimedia Information System
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• v.7 no.2
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• pp.141-146
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• 2020

Cine-Hangeul is a program that can predict the running time of a movie based on the screenplay before production. This paper seeks to verify the prediction reporting function of Cine-Hangeul, which is the standard Korean screenplay format. Moreover, this paper presents a method to increase the accuracy of the Cine-Hangeul reporting function. The objective of this paper is to offer a correction method based on scientific evidence because the current Cine-Hangeul reporting function has many errors. The verification process for five scenarios and movies confirmed that the default setting value of Cine- Hangeul's screening time prediction reporting was many errors. Cine-Hangeul analyzes the amount of textual information to predict the time of the scene and the time of the dialogue and helps predict the total time of the movie. Therefore, if a certain amount of text information is not available, the accuracy is unreliable. The current Cine-Hangeul prediction report confirms that the efficiency is high when the scenario volume is about 90 to 100 pages. As a result, prediction of screening time by Cine-Hangeul, a Korean scenario standard format program, confirmed the verification that it could secure the same level of reliability as the actual screening time by correcting the reporting settings. This verification also affirms that when applying about 50 percent of the basic set of screening time reporting, it is almost identical to the screening time.