• Journal of Broadcast Engineering
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• v.24 no.1
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• pp.118-131
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• 2019

In order to provide 8K UHD contents of terrestrial broadcasting with a large capacity, the terrestrial broadcasting system has various problems such as limited bandwidth and so on. To solve these problems, UHD contents transmission technology has been actively studied, and an 8K UHD broadcasting system using terrestrial broadcasting network and communication network has been proposed. The proposed technique is to solve the limited bandwidth problem of terrestrial broadcasting network by segmenting 8K UHD contents and transmitting them to heterogeneous networks through hierarchical separation. Through the terrestrial broadcasting network, the base layer corresponding to FHD and the additional enhancement layer data for 4K UHD are transmitted, and the additional enhancement layer data corresponding to 8K UHD is transmitted through the communication network. When 8K UHD contents are provided in such a way, user can receive up to 4K UHD broadcasting by terrestrial channels, and also can receive up to 8K UHD additional communication networks. However, in order to transmit the 4K UHD contents within the allocated bit rate of the domestic terrestrial UHD broadcasting, the compression rate is increased, so a certain level of image deterioration occurs inevitably. Due to the nature of UHD contents, video quality should be considered as a top priority over other factors, so that video quality should be guaranteed even within a limited bit rate. This requires packet scheduling of content generators in the broadcasting system. Since the multiplexer sends out the packets received from the content generator in order, it is very important to make the transmission time and the transmission rate of the process from the content generator to the multiplexer constant and accurate. Therefore, we propose a variable transmission scheduler between the content generator and the multiplexer to guarantee the image quality of a certain level of UHD contents in this paper.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.169-178
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• 2021

The Korean girl group "Kara" has suffered the trilemma of its de facto failure to debut, the crisis of team breakup, and the CEO crisis of the agency. But the group has made an outstanding achievement in the history of Korean pop music after overcoming all odds. Their success strategy has never been disclosed by insiders involved in Kara's total music projects. This study has been carried out in the analysis of the strategy to provide academic implications and to honor the contribution of the late CEO Ho-yeon Lee and Kara's key member Ha-ra Gu. Therefore, between Nov. and Dec. 2020, we conducted in-depth interviews with managers, composers, stylists and Ha-ra Gu(Only in 2019, before her death) who took part in the project. The research model is set up by combining Porter's Competitive Advantage Strategy and the music value chain model into categories of "Product Innovation Differentiation (PD)" (producing, album production, performance activities) and "Marketing Differentiation (MD)" (market targeting, image specialization, promotion and communication). The analysis showed that the PD focused on complete rediscovered harmonization and revalued members' personality and sincerity with peppy songs and dainty dances as well as emission of "bright energy" which caused healing effects instead of mimicking other star singers recklessly. In terms of MD, they selected Japan's 10-20s as their main market, increasing intimacy with fans and media with the image of cute+pretty+classy+sexy. The result suggests that Poter's differentiation can function as a meaningful strategy frame in the fostering, hit, and revival of idol groups. In addition, it reaffirmed that spontaneous and passionate activities of early-stage or celebrity fan may serve as a valid catalyst for realizing differentiation, as Kara's caller of Japanese actor Gekidan Hitori caused a strong "priming effect" that drove Kara's unexpected wonderful success in Japan.

• Journal of Life Science
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• v.31 no.11
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• pp.1028-1036
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• 2021

Firefly luciferase (FLuc) can function as an efficient marker in the gene and viral therapies. Nonetheless, its clinical translation has been unaccomplished with the concerns on its exogenous nature and the similarity with human fatty acyl-CoA synthetase. In this study, we aimed to show safety of FLuc by conducting a set of preclinical experiments and a human use. Initially, FLuc permeability across the plasma membrane was investigated by delivering the FLuc-carrying viral vector, OTS-412, or the FLuc recombinant protein. After in vitro infection of OTS-412 into different cancer cell lines, FLuc activity was detected only in the cell lysates, but not in culture media. In addition, recombinant FLuc protein further showed the impermeability against the plasma membrane. Similar result was also observed in the in vivo experiment. After being injected into the VX2 tumor-bearing rabbit, the FLuc exclusively resided within the tumor tissue without being detected in the blood plasma or other organs. Human cancer cell lines originated from various organs were lysed and treated to the FLuc, and none of the human substrates was reactive against the FLuc. As a final step, FLuc recombinant protein was intravenously injected into a human. The luciferase was degraded with the half-life of 20 to 30 minutes in blood, and was untraceable from 1.5 hr after the injection. In addition, the blood plasma was nonresponsive against the fatty acids. Hematological analysis was also comparable between the pre- and post-injection. Altogether, our study collectively demonstrates the safety of the firefly luciferase.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.243-277
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• 2020

This paper examines a social and cultural history of horror films through the keyword "technology", focusing on The Spark of Fear: Technology, Society and the Horror Film (2015) written by Brian N. Duchaney. Science fiction film is closely connected with technology in film genres. On the other hand, horror films have been explained in terms of nature/supernatural. In this regard, The Spark of Fear, which accounts for horror film history as (re)actions to the development of technology, is remarkable. Early horror films which were produced under the influence of gothic novels reflected the fear of technology that had been caused by industrial capitalism. For example, in the film Frankenstein (1931), an angry crowd of people lynch the "monster", the creature of technology. This is the action which is aroused by the fear of technology. Furthermore, this mob behavior is suggestive of an uprising of people who have been alienated by industrial capitalism during the Great Depression. In science fiction horror films, which appeared in the post-war boom, the "other" that manifests as aliens is the entity that destroys the value of prosperity during post-war America. While this prosperity is closely related to the life of the middle class in accordance with the suburbanization, the people live conformist lives under the mantle of technologies such as the TV, refrigerator, etc. In the age of the Vietnam War, horror films demonize children, the counter-culture generation against a backdrop of the house that is the place of isolation and confinement. In this place, horror arises from the absolute absence of technology. While media such as videos, internet, and smartphones have reinforced interconnectedness with the outside world since the 1980s, it became another outside influence that we cannot control. "Found-footage" and "torture porn" which were rife in post-9/11 horror films show that the technologies of voyeurism/surveillance and exposure/exhibitionism are near to saturation. In this way, The Spark of Fear provides an opportune insight into the present day in which the expectation and fear of the progress of technology are increasingly becoming inseparable from our daily lives.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.259-269
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• 2021

This study examines the legend of 'Grandmother Seolmundae and Five Hundred Generals', the cultural archetypes of Jeju, and analyzes the characteristics of its contents. After analyzing the feasibility of using the analyzed cultural prototype as cultural contents such as games and animations, based on this analysis, we tried to suggest a cultural planning approach based on the cultural prototype to the cultural agency. Therefore, the implications of this study are as follows. First, among the cultural prototypes in Korea, 'Grandmother Seolmundae and Five Hundred Generals', which represent the legends of Jeju Island, are being organized centered on many historical researchers and Chaerokga, but there is no precise establishment of the exact timing of the legend and how it arose. Therefore, when planning and developing content based on the cultural prototype, it is most important for cultural agencies to develop a story after researching historical evidence and opinions of local residents to identify a consistent point of view. Second, although the contents of the cultural archetype are arranged slightly differently by historians and recorders, the main contents and characteristics of the story are found to have a similar form. Therefore, cultural agencies should focus on finding the point of view and characteristics of a story, even if a story is written differently by different people when doing a cultural prototype. Third, when planning a game based on the cultural prototype, the main elements such as the elements to be expressed in the game and the fun elements should be found and presented. In particular, because fun and rules are the most important parts of games, if this part cannot be derived from the story of the cultural archetype or cannot be made, it is difficult to transform the cultural archetype into a game. Therefore, it can be seen that it is important for cultural agencies to set their game plan intentions in consideration of story expression and fun, even if it is the core or non-core of the entire story of the cultural archetype. Lastly, although the cultural prototype 'Grandmother Seolmundae and Five Hundred Generals' was presented as animation content, it is important to develop it considering the story, characters, media, and audience. Therefore, cultural agencies should be able to derive the elements such as stories, representative and auxiliary characters, and viewers that can be adapted from the cultural prototype as much as possible. It will be an important part of raising.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.

• Journal of Communication Design
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• v.68
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• pp.278-288
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• 2019

The purpose of this study is to analyze the effects of risk and convenience on purchase intention in the IOT market, and I want to analyze the moderating effect of emotional consumption value. In this study, two products were selected from three product groups. There are three major methods of research. First, theoretical considerations. Second, survey analysis. Reliability analysis and factor analysis were performed using descriptive statistics using SPSS. Third, we measured changes of EEG according to in - depth interview and indirect experience. As a result of the hypothesis of this study, it was confirmed that convenience of use of IoT product influences purchase intention. Risk was predicted to have a negative effect on purchase intentions, but not significant in this study. This implies that IoT products tend to be neglected in terms of monetary loss such as cost of purchase, cost of use, and disposal cost when purchasing. In-depth interviews and EEG analysis revealed that there is a desire to purchase and try out the IoT product due to the nature of the product, the novelty of new technology, and the vague idea that it will benefit my life. The aesthetic, symbolic, and pleasure factors, which are sub - elements of emotional consumption value, were found to have a great influence. This is consistent with previous research showing that emotional consumption value has a positive effect on purchase intention. In-depth interviews and EEG analyzes also yielded the same results. This study has revealed that emotional consumption value affects the intention to purchase IoT products. It seems that companies producing IoT products need to concentrate on marketing with more emotional consumption value.

• Asia Marketing Journal
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• v.15 no.4
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• pp.103-129
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• 2014

Differentiated positioning becomes increasingly difficult when brand salience weakens. Also, the daily increase in new media use and information load has led to a social climate that regards advertising stimuli as spamming. For these reasons, the focus of advertisement-related communication is shifting from persuading consumers through the direct delivery of information to an emphasis on appealing to their emotions using matching stimuli to enhance persuasion effects. Recently, both academia and industry have increasingly shown an interest in storytelling methods that can generate positive emotional responses and attitude changes by arousing consumers' narrative processing. The purpose of storytelling is to elicit consumers' emotional experience to meet the objectives of advertisement producers. Therefore, the most important requirement for storytelling in advertising is that it evokes consumers' sympathy for the main character in the advertisement. This does not involve advertisements directly persuading consumers, but rather, consumers themselves finding an answer through the advertisement's story. Thus, consumers have an indirect experience regarding the product features and usage through empathy with the advertisement's main character. In this study, we took the results of a precedent study as the starting point, according to which consumers' emotional response can be altered depending on the storytelling methods adopted for storytelling ads. Previous studies have reported that drama-type and vignette-type storytelling methods have a considerably different impact on the emotional responses of advertising audiences, due to their different structural characteristics. Thus, this study aims to verify that emotional response aroused by different types of advertisement storytelling (drama ads vs. vignette ads) can be controlled by the socio-psychological gender difference of advertising audiences and that the interaction effects between the socio-psychological gender differences of the audience and the gender stereotype of emotions to which advertisements appeal can exert an influence on emotional responses to types of storytelling in advertising. To achieve this, an experiment was conducted employing a between-group design consisting of 2 (storytelling type: drama ads vs. vignette ads) × 2 (socio-psychological gender of the audience: masculinity vs. femininity) × 2 (advertising appeal emotion type: male stereotype emotion vs. female stereotype emotion). The experiment revealed that the femininity group displayed a strong and consistent empathy for drama ads regardless of whether the ads appealed to masculine or feminine emotions, whereas the masculinity group displayed a stronger empathy for drama ads appealing to the emotional types matching its own gender as well as for vignette ads. The theoretical contribution of this study is significant in that it sheds light on the controllability of the audiences' emotional responses to advertisement storytelling depending on their socio-psychological gender and gender stereotype of emotions appealed to through advertising. Specifically, its considerable practical contribution consists in easing unnecessary creative constraints by comprehensively analyzing essential advertising strategic factors such as the target consumers' gender and the objective of the advertisement, in contrast to the oversimplified view of previous studies that considered emotional responses to storytelling ads were determined by the different types of production techniques used. This study revealed that emotional response to advertisement storytelling varies depending on the target gender of and emotion type appealed to by the advertisement. This suggests that an understanding of the targeted gender is necessary prior to producing an advertisement and that in deciding on an advertisement storytelling type, strategic attention should be directed to the advertisement's appeal concept or emotion type. Thus, it is safe to use drama-type storytelling that expresses masculine emotions (ex. fun, happy, encouraged) when the advertisement target, like Bacchus, includes both men and women. For brands and advertisements targeting only women (ex. female clothes), it is more effective to use a drama-type storytelling method that expresses feminine emotions (lovely, romantic, sad). The drama method can be still more effective than the vignette when women are the main target and a masculine concept-based creative is to be produced. However, when male consumers are targeted and the brand concept or advertisement concept is focused on feminine emotions (ex. romantic), vignette ads can more effectively induce empathy than drama ads.

• Pediatric Infection and Vaccine
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• v.31 no.1
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• pp.75-82
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• 2024

Purpose: As the coronavirus disease 2019 (COVID-19) pandemic ended, the number of patients with respiratory syncytial virus (RSV) pneumonia increased during the spring/summer of 2022. This study aimed to analyze the clinical features and antibiotic usage of children hospitalized for RSV pneumonia in a recently established general hospital in Sejong city. Methods: In this retrospective review, we included inpatients of the Pediatric Department of Chungnam National University Sejong Hospital diagnosed with RSV pneumonia between March 2022 and April 2023. Patients were divided into 2 groups: with and without antibiotic treatment. Demographic data, initial presentations, and clinical courses were reviewed. Results: A total of 116 patients with RSV pneumonia were hospitalized during this period, of which 102 were analyzed, excluding 14 with underlying diseases or who did not fall within the definition of pneumonia. The median age was 17 months. Diagnoses of bacterial infections (acute otitis media and sinusitis) were documented in 9.8% of cases. Intravenous (IV) antibiotics were administered in 46% of cases. The group receiving IV antibiotics showed higher inflammatory levels (C-reactive protein; CRP), more infiltration on initial chest X-rays, and longer fever duration. There was no difference in the length of hospitalization between the groups with and without IV antibiotics. Conclusions: This study showed a tendency for the attending physician to prescribe IV antibiotics to patients with longer fever duration, pulmonary infiltrations on the initial chest X-ray, and higher CRP levels. However, given the high rate of IV antibiotic usage compared to previous studies, care should be taken in antibiotic use.