• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.107-116
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• 2021

In recent years, the research on audience satisfaction after watching programs has been carried out in various fields. However, there is no precedent for the study of simply analyzing the influencing factors of audience satisfaction with the newly established CCTV-9 channel. For CCTV-9, how to explore the strategy of industrial development based on the needs of the audience in the era of big data is a very important part. This article exploratively focuses on the influencing factors related to CCTV-9 audience satisfaction. Using questionnaires, 101 samples of the satisfaction with the channel of men and women of different ages, education backgrounds, majors, and incomes were collected to test, and 9 hypotheses were tentatively proposed as relevant influencing factors of channel satisfaction. Through empirical analysis, this research searches for the determinants. The reliability and validity of the measurement were properly analyzed, and all hypotheses were statistically tested. The empirical results show that: subject matter, program format, program scheduling, program broadcast time, channel advertising, simulcast series of documentaries, diversified communication platforms, brand image packaging and audience satisfaction are significantly positively correlated.

• Korean journal of communication and information
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• v.53
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• pp.53-72
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• 2011

has become the representative program of EBS after first airing in 2004. After seeing as a media text, this study was fulfilled on the basis of Bill Nichols' "Rhetoric" discussion, in order to analyze the structural method and social meaning of the program. As a result of the study, we were first able to see that was taking form as a documentary to make a constructive statement on current affairs related to Korean society, by mobilizing 'knowledge' related to these issues. Second, the "rhetoric" plays an important role in the program's process to generate meaning, and despite the text being relatively short, the rhetorical process undergone for the generation of meaning has been fully reflected. Moreover, the program was successfully structuring a new method of generating meaning by enthusiastically raising questions and choosing a unique method of vision mix. Third, by looking at the study's results in-depth, we can see that was creating a ideological place for open discussion, which was providing viewers with the satisfaction of overcoming our society's dominating ideology and forming new ones. In that sense, the easily accessible 'knowledge'that surrounds us holds somewhat of a political meaning. On top of that, it can be seen that the program especially, is a media text that holds a cultural political meaning, which is an important factor to consider in the Korean broadcasting industry. In conclusion, we found out that this program uses 'knowledge' to see the possibility of 'knowledge'journalism by making constructive statements through a 'rhetorical' process.

• Journal of Broadcast Engineering
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• v.14 no.6
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• pp.692-702
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• 2009

Real-time virtual studios which could run only on expensive workstations are now available for personal computers thanks to the recent development of graphics hardware. Nevertheless, graphics are rendered off-line in the post production stage in film or TV drama productions, because the graphics' quality is still restricted by the real-time hardware. Software-based camera tracking methods taking only the source video into account take much computation time, and often shows unstable results. To overcome this restriction, we propose a system that stores camera motion data from sensors at shooting time as common virtual studios and uses them in the post production stage, named as POVIS(post virtual imaging system). For seamless registration of graphics onto the camera video, precise zoom lens calibration must precede the post production. A practical method using only two planar patterns is used in this work. We present a method to reduce the camera sensor's error due to the mechanical mismatch, using the Kalman filter. POVIS was successfully used to track the camera in a documentary production and saved much of the processing time, while conventional methods failed due to lack of features to track.

• Proceedings of the KSMRM Conference
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• 2001.11a
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• pp.137-137
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• 2001

Purpose： The purpose of this study was to identify cerebral cortices related with sexual arousal fro visual sexual stimulation in healthy males using BOLD-based functional MR imaging Method： Sixteen male volunteers with sexually potent(mean age：24) were examined for thi study. Functional MRI was performed on a 1.5T MR scanner(GE Signa Horizon) with birdcage-type head coil. In this study, blood oxygenation level dependent(BOLD) technique was utilized to create fMR image reflecting local brain activities. The BOLD-based fMRI d were obtained from 7 oblique planes using gradient-echo EPI with $90^{\circ}$flip angle, 50ms TE 6000ms TR, $26cm{\times}26$ cm FOV, $128{\times}128$ matrix, and 10mm slice thickness. The sexual stimulation paradigm consisted of two alternating periods of rest and activati and it began with a 1 minute rest, followed by a 2 minute stimulation by a documentary a erotic video film. Brain activation maps were generated by cross-correlation of imag acquired during rest and activation periods. The index of activation was used to compare t number of pixels activated by each task in each volunteer, where the significance of th differences was evaluated by using Students t-test.

• Journal of Digital Convergence
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• v.15 no.8
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• pp.333-340
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• 2017

Timelapse is an imaging technique that captures motion at regular intervals and then projects it at normal speed. We looked at Timelapse advertising images of global brands and presented a model for analyzing components and expression methods of Timelapse, a new image technique. In previous research, literature research, Internet data survey, and YouTube data were investigated. Continuous photography has been developed as an imaging technique, and we have examined the current production status applied to domestic and foreign documentary, domestic and foreign drama, film, and advertisement. In 2015-2016, I will analyze the techniques of iPhones (2016), Ralph Lauren Polo Ads (2015), and Canon EOS (2013) videos that use Timelapse techniques in their recent advertisements. The results show that the Timelapse component is a static element, the static motif is mainly an artificial structure, the place is outdoor, the color is taken at a time showing the characteristics of the place, and the layout is all centered. The dynamic motif is a moving object. The dynamic line consists of a story based on the object. The time is about 11-15 seconds, the longest is about 1 minute and 30 seconds, and the editing is mainly focused on the product with the brand logo emphasized. In conclusion, it is the role of the image to pay attention to the advertisement and catch the eye. In order to motivate the buyer's mind, it is necessary to direct and edit such as Timelapse, which stimulates the emotions inherent in the mind and stimulates the non-verbal symbols. Future research is likely to reveal various attempts at temporal editing of images.

• Cartoon and Animation Studies
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• s.49
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• pp.589-610
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• 2017

This study aimed at examining the music world of the composer Muczynski, who played an important and meaningful role in the various experimental trends of music which began to appear in the early $20^{th}$ century, and his works, thereby understanding his relationship with the development of music of various genres today. In the study, his pieces of piano music among his works, which formed the basis for his music, were analyzed. The study examined stylistic characteristics, that is techniques of various types including form, melody, harmony, tonality, rhythm and structure, and introduced the composer's growth in terms of music and philosophical background. Muczynski, the composer who showed the characteristics of neoclassicism, neoromanticism and neobaroque in contrast to the various forms of the $20^{th}$ music, namely music of free styles including atonal music, twelve-tone technique, avant-garde music and electronic music, used traditional forms. However, the characteristics of his works are very free. In addition, in the 1960s, he participated in the production of documentary movie music, creating very creative and sensational music. Muczynski's music has the features of tonality and shows neoclassic and neoromantic features including economical idea, lyrical melody, bitonality and nine-note scale. His music, therefore, is being evaluated as very creative and valuable and is largely significant in that it has provided a good basis for the development of modern movie music and jazz music today.

• Cartoon and Animation Studies
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• s.39
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• pp.157-182
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• 2015

Mr. Folman, an Israeli director, used a highly stylized form of animation in a decidedly adult way to make his documentary about the 1982 war in Lebanon, "Waltz With Bashir," in 2008. After 5 years, he has used another distinctive approach, fusing animation with live action in his latest film, a trippy and surreal undertaking called "The Congress." He dismantled the means through parodies, the core of post-modernism art and built a new meaning to create a unique world view and unique aesthetics. In this study, parodies of the modern concept of post-modernism being used as a major strategy in the creation of art have appeared the four characteristics of post-modern parody: 1) intertextuality, 2) dissolution and fusion of genres, and 3) strengthening of irony, and 4) pastiche. This study is characteristic of post-modern parody that discusses the relevance of contemporary parody and postmodernism being developed by analyzing how they appear on the practical work. Furthermore, through analysis of "The Congress", this study discusses the post-modernist world view and the creative way of creating an experimental art with parody.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.