• Asia Marketing Journal
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• 제16권3호
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• pp.77-100
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• 2014

Many researchers have analyzed the relationship between the financial success patterns of a motion picture and many other factors, such as the production cost, marketing, stars, awards, reviews, genre, and rating. Through these studies, many researchers and investors concluded that big budgets to make a blockbuster movie can serve as an insurance policy to meet their ROI; thus the box office is dominated by blockbuster movies. High-budget blockbuster movies are more likely to receive attention because these movies are more recognizable given their high expenses for production and casting. Therefore, audiences choose blockbusters in an effort to reduce the searching cost and to mitigate the possibility of a regrettable choice. This behavior of consumers, in turn, causes distributors to allocate screens for blockbusters, resulting in "concentration of blockbuster consumption." As such, low-budget films cannot easily become popular due to the lack of distribution. Indeed, low-budget films released on a small number of screens often end up becoming dismal failures. However, there are exceptional examples which are contrary to the general idea in the movie industry that a big budget and showings on a large number of screens can guarantee the success of a movie. Although researchers have attempted to analyze the performances of movies with small budgets, such movies are likely to be regarded as outliers and then be entirely discarded, as they are far from the 'three-sigma' range, especially given that previous research methodologies could not explain the financial success of such unique examples. This study attempts to explain the financial success at the box office of low-budget movies by applying the concept of the tunnel effect in quantum mechanics, as the phenomenon found in the movie industry is similar to a particle's movement in quantum physics. The tunneling effect is a phenomenon by which a particle without enough energy to pass over a potential barrier tunnels through it. Adopting the analogy, this study draws a tunneling probability function and cultural constant to forecast other outliers using the Schrödinger equation. Moreover, the study finds that word-of-mouth creates in the movie industry this phenomenon of finding outliers.

• 디지털융복합연구
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• 제11권10호
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• pp.133-139
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• 2013

다문화 사회와 다민족 국가의 도래는 새로운 시대적 변화이자 현상이다. 한국에 거주하는 이주민이 140만명이 넘는 사회적 변화는 한국적 상황에 적합한 새로운 이론과 정책의 필요성이 대두되었고, 우리나라 보다 먼저 다문화 사회로의 변화를 겪은 일본의 정책적 변화과정을 살펴보는 것은 매우 의미 있는 일이다. 본 연구에서는 한일 양국 간의 다문화정책의 추진이유, 법 제도 변화와 정책들을 비교분석하여 특징 및 차이점들을 알아 본 후 시사점을 도출하고 한국 상황에 맞는 새로운 다문화 정책 이론을 제시하였다. 새로운 한국적 다문화 정책은 첫째, 다양성 수용과 상호인정 둘째, 사회적 합의를 통한 정책의 방향성 수립 셋째, 다문화 규칙의 수립으로 경제적 규칙 및 정치적 규칙을 정립해야 할 것이다.

• 한국HCI학회:학술대회논문집
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• 한국HCI학회 2009년도 학술대회
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• pp.1359-1362
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• 2009

컴퓨터에 의해 촉발된 디지털 미디어 기술은 그 발전 속도가 나날이 가속화되어, 현재는 과학기술 분야뿐만 아니라 사회 문화적으로 확장되어 커다란 영향력을 갖게 되었다. 이러한 확장과 영향력에 대해 국내에서는 '디지털 컨버전스'라는 용어로 축약되어 설명될 수 있는데, 에드몽 꾸쇼(Edmond Couchot)는 'hybridization' 이라는 용어로 설명한 바 있다. 슈필만과 볼터(Yvonne Spielmann and Jay David Bolter)는 이러한 혼성적인 디지털 미디어 작품들은 이미지, 텍스트, 사운드, 공간 그리고 구체적 표현 방법 등의 다양한 범위의 재현 형식을 넘나들며 통합되고 있다고 하였으며, 이러한 혼성적인 특성 중 실재(real)적인 것과 가상(virtual)적인 것의 융합으로 인해 이루어지는 상호소통에 대해 다루어야 함을 역설한 바 있다. 본 논문에서는 실재와 가상이 융합된 결과물의 형태로 보여지는 혼합 현실 환경에 주목하여 이러한 적극적인 상호소통을 필요로 하는 양극의 주체인 과학기술과 문화예술간의 적절한 접점으로 수렴되고 있는 분야 중의 하나인 혼합현실형 공공 문화콘텐츠를 예를 들어 미디어아트에서 시도되었던 방법들과 그에 대한 확장된 해석을 통해 과학과 예술을 현대적으로 화합시키는 방법에 대한 연구를 통해 과학과 예술의 수렴을 지향하는 간학제적 관점을 논구하고자 한다.

• 한국의류학회지
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• 제39권2호
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• pp.204-216
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• 2015

Fashion is changing and evolving everyday with an influence from and over contemporary socio-cultural factors. Cartoons expressing the phenomena of times through exchanges of mutual effects with socio-cultural factors that result from functionality and media characteristics. This study examines how fashion provides a great correlation with society-culture expressed in cartoons. The research segment of this study was conducted with literature and case studies; in addition, the UK cartoon magazine "Punch" was selected for the case study. The research findings of the fashion satire expression in cartoon were divided into 2 cases. The first case is that fashion was used as an instrument to satirize socio-cultural phenomena in cartoons. Various fashion elements (hats, dresses, words on T-shirts) were used for satiric expressions and to express periodic images related to politics, economics, society and culture. It communicated factually or criticized noteworthy phenomenon or age changes through the symbolism of fashion. The second case is that fashion itself is the object of satire in a cartoon. It satirically described the blind following and destruction of stereotype as direct objects. Fashion satire appeared in cartoons regardless of a correlation with age. Each cartoon fashion satire had meaning in both humor and criticism for satirizing the age. This study shows that fashion symbolism for satire of the reality has been used as the instrument of expression and simultaneously expressed as the object of the critique as an image and phenomenon that reflects reality. This study has significance in that it examined expressive modes of fashion satire in cartoons that escape from separating fashion from cartoon as a different area.

• 보존과학회지
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• 제26권4호
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• pp.437-443
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• 2010

화석 연료의 생성물인 유해 부식 가스와 이들의 원인으로 나타나는 산성 강하물이 야외 동(銅) 조형물을 보호하고 있는 왁스에 미치는 환경에 대한 영향성을 연구하였다. 부식이 유해 가스보다는 체류성이 강한 산성 강하물에 의해 급격히 진행되는 것으로 볼 수 있었으며, 이 부식의 시작이 코팅된 왁스의 백화 현상으로부터 시작되는 것을 알 수 있었다. 산성도가 증가할수록 백화 현상이 크게 발생하였으며 결과적으로 산성강하물 및 부식 가스에 의해 백화 현상의 시작으로 내부 금속의 노출 현상이 나타나게 되어 부식이 진행되는 것으로 알 수 있었다. 왁스가 코팅된 동 시편은 유해 부식 가스와 산성비, 0.1 M의 산들에 노출되었으며 이의 결과로 가장 변화가 적고 산성도에 대한 저항성이 큰 왁스로는 황산의 결과를 제외하고는 모든 실험에서 Renaissance wax의 변화가 가장 작은 것으로 나타났다.

• International Journal of Advanced Culture Technology
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• 제10권4호
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• pp.268-276
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• 2022

This study examined whether K-pop dance is qualified as an academic subject and how university students perceive K-pop dance as a liberal art subject. The survey was conducted with 138 students. Among the total of 138, 40 participants were male, and 53 participants were female. Fourteen(14) participants had experience with K-pop classes, and 124 participants did not have any experience with K-pop dance classes. According to the study, K-pop is a form of Korean culture that adds unique cultural and social characteristics to Koreans. It is in the cultural and art education category. In addition, K-pop dance is a socio-cultural phenomenon characterized by dance. However, K-pop dance is not qualified as an academic subject because it lacks theoretical foundations. The survey result also revealed that the students did not perceive that K-pop dance had personal, aesthetic, social, or educational value. They did not want to take a class if K-pop dance is offered as an academic subject in liberal art class. When analyzing the data by gender and experiences with dance classes, there was a difference based on gender in the two questions. In the case of females, they responded to having fun and joy from K-pop dance, while male respondents did not. Regarding the learners' interest in Kpop dance class, female respondents were more optimistic about the learner interest than male respondents. In conclusion, K-pop dance is a sociocultural phenomenon, and many informal online courses are created daily, spreading everywhere. However, the status of K-pop dance as an academic area is not set up yet.

• 만화애니메이션 연구
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• 통권50호
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• pp.23-42
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• 2018

2차원문화(二次元文化)는 현재 중국 콘텐츠 시장의 핵심 키워드이다. 중국에서는 2차원문화에 대한 이용자가 날로 증가하며 대중들의 관심이 고조되고 있다. 또한 콘텐츠 시장에서의 인기로 인해 많은 자본을 투자하고 있는 실정이다. 2차원문화가 주류문화로 부상한 이유는 주류 소비자층의 전환뿐만 아니라, 첫째로는 2차원문화가 ACGN(Animation, Comic, Game, Light Novel) 외에도 영화, 공연, 테마파크 등 많은 영역 까지 아우른 거대한 산업사슬을 형성하고 있는 것, 둘째로는 사회적 환경과 충성도가 높은 특정 수용자들로 인해 더욱 더 많은 사람들이 2차원문화 행렬에 가담하고 있는 것, 셋째로는 문화의 전파성이 강한 등 세 가지 특징으로부터 2차원문화 콘텐츠에 있어서 수용자의 역할을 찾아보았고, PEST(거시환경 분석)를 통하여 정치, 경제, 사회, 기술 등 네 가지 측면으로 중국 2차원문화 환경을 분석하였다. 또한 2차원문화 수용자들의 생태환경과 소통방식이 변화되면서 수용자는 능동적 참여자이자 콘텐츠의 재생산자로 부각되었는데, 이러한 수용자 콘텐츠 이용방식을 '탄막(弹幕)'현상으로 살펴보았다. 따라서 본 연구는 중국 2차원문화 환경에서 수용자 중심의 콘텐츠산업에 대한 적절한 발전 경로를 논의하는 시사점이 있다.

• 패션비즈니스
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• 제14권5호
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• pp.78-92
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• 2010

The culture phenomenon, which the desire of self expression is noticeable and the diversity of gender identity is widely accepted, simply makes a difference in the lifestyle of one human being rather than the dichotomous classification of male and female. Now, the delicate and aesthetic sensitivity classified as the feminine characteristics is no longer the exclusive property of female and this refers to substituting it as a social gender from the concept of biological sex. This phenomenon has influenced on the male culture and is creating various codes according to the cultural gender extended from the gender as a social role. Also, the transition into the western lifestyle has extended the aesthetic emotion to accommodate new codes from the diversification and globalization of lifestyle. The mansumer power, which does not care too much about the money for the emotionally attached items, has enabled various fashion styles. After analyzing the diversified clothing behavior conducted by these people in connection with the social phenomenon, First, this shows the phenomenon of emotional value pursuit that finds pleasure over the clothing as the item of augmented reality is added to the concept of play, in which the real space referred to as garment and virtual space of playing the rock, paper and scissors game meet together within the augmented reality. Second, the convergence concept has enabled the coordination of new style by obscuring the area of design concept and this refers to the changes in design from the development of new items and transformation into double-style details. Third, the divergence that intensively provides specific use/convenience and specialized value shows a change in the fashion market from the phenomenon that admits various gene rations of culture and specifically, takes differently about the recognition of middle-aged males. Fourth, the variety seeking tendency receives attention as the value of future design together with the phenomenon of discriminative value pursuit. In the male fashion, it is linked to the collaboration with the design area and this tells that the fashion with the narcissistic cross-dressing and motto of neutral gender without being sided to male/female is rising.

• 한국실내디자인학회논문집
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• 제23권6호
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• pp.60-69
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• 2014

The features of the cultural phenomenon, 'Hybrid Culture,' can be analyzed through the concept of 'Meme,' the cultural gene continuously evolves. The architectural meme also has an effect as the cultural symbol on a space. It can be the solution to the urban problems, lack of contextualization caused by reckless development. Therefore, this study aims to examine the characteristics of the sustainable and effective renewal space by applying the concept of Meme. Theoretical analysis, characteristics of expression, and case study are conducted to analyze the Meme features of the renewal space. Particularly, this study focuses on the Meme features appeared in the Zollverein Coal Mine Industrial Complex in German. The results obtained from this study is as written below. First, Meme renewal space is a design that can solve the contextual deficiency of architecture through the cultural renewal. Second, the true renewal space has the characteristics of meme space that organically changes as if an organism. Third, it is possible to conduct a detailed analysis on the organic characteristics according to the evolving phases-Mimesis, Memeplex, and Metameme. Fourth, the true meaning of sustainable renewal space is the Meme space encompasses the scope of urban. Lastly, the Meme space has a circulation system that each evolving phase, and new and old continuously exchange feedbacks.

• 복식
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• 제60권2호
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• pp.81-98
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• 2010

This study aims to examine the subjects of cultural power of the modernism and post modernism eras, and analyze how the change of power and subjects influenced fashion throughout the history from the microscopic perspective, and thus to explain the social relationship of the fashion phenomenon. The study findings can be summarized as follows. First, as the post modernism era which was being formed centering around Europe that was pursuing Haute Couture and formal masculine suits ended and the post modernism era started, America became the center of the world power, and the American equalitarianism and growing wealth among the general public spread over the world, and as a result, the ready-made clothes were propagated over the world, and various subcultures came to have multi-national tendency in the New Media society. Second, in the modernism era, the high class, whites, males, and the pre-existing powerful class were the subjects of cultural power. Although this changed in the post modernism era, as some of power moved from the high class to the middle class, the economically affluent general public, still the western world, males, and whites held the center of power. However, later, females, youths, the third world nations, and so on emerged as minor power, and when the New Media society started, the structure developed so that everyone can share cultural power.