사이버스페이스를 활용한 한민족문화네트워크 구축 방안

최수웅 ( Soo Wung Choi ) 한국언어문화학회 2006 한국언어문화 Vol.0 No.31

재일한민족 영화에 나타난 ‘불고기’의 이야기가치 연구

최수웅(Choi, Soo-Wung) 인문콘텐츠학회 2014 인문콘텐츠 Vol.0 No.32

최근 문화콘텐츠산업이 발전하면서 스토리텔링의 중요성이 주목되고, 그에 따라 이야기가치에 대한 연구 필요성이 강조되고 있다. 특히 시대와 지역을 뛰어넘어 세계시장에서 보편적으로 통용될 수 있는 이야기가치에 대한 요구가 많은데, ‘요리’야말로 이에 부합되는 활동이다. 특히 ‘재일한민족(在日韓民族)’ 문화 연구에서 요리는 매우 중요한 의미를 가진다. 이들은 한국보다 앞서 다문화를 체험했으며, 일본사회에 적응하기 위해 새로운 문화를 창출해냈기 때문이다. 그러한 예가 바로 ‘불고기’이다. 일제강점기부터 전파되기 시작한 불고기는 한국의 전통과 일본의 문화적 특성이 결합하여, ‘야키니쿠’라는 이름으로 일본에서 매우 큰 인기를 끌고 있다. 그러므로 이 요리에는 재일한민족의 지난한 역사와 그를 극복하려는 의지, 고향에 대한 향수(鄕愁)와 낯선 땅에서의 삶을 지켜나가려는 열망, 전통을 지키려는 노력과 그를 현대화하려는 도전정신 등이 복합적으로 작용하고 있다. 이러한 특징을 파악하기 위해 재일한민족을 다룬 영화들을 대상으로 분석을 시도하였으며, 그 결과는 다음과 같다. 첫째, 회복. ?더 야키니쿠 무비: 불고기?에서 불고기는 일상의 소중함을 일깨워주고, 관계를 회복하는데 도움이 되는 매개체로 활용되었다. 둘째, 결의. ?역도산?에서 불고기는 결의를 다지는 도구로 활용되었다. 주인공은 누구보다 강하게 민족 차별을 당한다. 그리고 이에 대항하기 위해서 힘을 내야할 때마다 불고기를 먹는다. 셋째, 모색. ?GO?에서는 불고기식당이 새로운 길을 모색하는 회합의 장소로 활용된다. 기성세대와는 다른 방식으로 세상과 관계를 맺으려는 노력은 재일한민족의 새로운 생활방식이라는 점에서 의미를 가진다. 넷째, 화합. ?박치기!?에서 불고기는 이질적인 집단 사이의 이해를 도모하는 계기로 작용한다. 그것은 재일한민족 내부의 화합이기도 하고, 재일한민족과 일본인들과의 화해이기도 하다. Recently, cultural content industry has been developed with emphasis of storytelling and accordingly, necessity of study for story value is having attention. Especially, there are needs of story value which can be generally accepted worldwide market over time and place and the ‘cooking’ is activity that fits with it. In particular, the value of cooking in cultural study of Korean-Japanese is very special. They have experienced multi-culture before Koreans and created a new culture to be adopted in japanese society. Such example is the ‘Bulgogi’. The Bulgogi that was spreaded since the Japanses occupation, combined Korean culture and characteristics of Japanese chulture and became very popular with a name ‘Yakiniku’ in Japan. Therefore, this dish has willingness to overcome with the past history of Korean-Japanese, fragrance toward their homeland, desire to continue their life, efforts to protect their tradition and challenge spirit to modernize them. Such characteristics have been analysed for movies talking about the Korean-Japanese and the result follows as below. First, in ‘recovery’ <The Yakiniku Movie: Bulgogi>(プルコギ), bulgogi was used as a mediator which awakens importance of ordinary day life and helps to recover relationships. Second, in ‘will’ <Rikidozan>(力道山), the bulgogi was used as a tool to strengthen their will. The main character faces strong ethnic discrimination. The character eats bulgogi everytime need strength to fight against the discrimination. Third, in ‘Search’ <GO>, bulgogi restaurant is used as a meeting place to search for a new way. The effort to have a relationship with the world in different way from old generation has special meaning in its new life style for Japanese-Koreans. Fourth, in ‘Unity’ <Break Through!> (パッチギ!), the bulgogi functions as a chance to achieve understanding between different groups. It was unity inside of Japanese-Koreans and reconciliation between Japanese-Korean and Japanese at the same time.

손오공의 이야기가치와 문화콘텐츠적 활용양상 연구

최수웅(Choi, Soo Wung) 인문콘텐츠학회 2011 인문콘텐츠 Vol.0 No.23

최근 글로컬리즘이 확산되고, OSMU(One Source Multi Use) 전략이 보편화되면서, 자급자족이 가능한 규모의 지역 시장에서 통용될 수 있는 이야기의 개발이 필요하게 되었다. 이 논문에서 분석 대상으로 삼은 손오공(孫悟空) 이야기는 그에 적합한 사례이다. 손오공은 중국의 고전 소설 『서유기(西遊記)』에 등장하는 캐릭터로, 다음과 같은 이야기가치를 가진다. 첫째, 아시아의 대표 캐릭터라는 지역적 가치. 손오공 이야기는 중국, 실크로드, 네팔, 인도를 아우르는 여러 지역을 배경으로 하며, 인도의 서사시 「라마야나(R?m?yana)」를 비롯한 여러 옛 이야기에서 유사한 캐릭터가 발견된다. 이는 소비자들에게 친근감을 형성하는 계기가 된다. 둘째, 수행을 통해 성장하는 인물이라는 문화적 가치. 손오공은 자연사물인 바위에서 태어나, 동물로 살아가다, 막강한 힘을 얻지만 그것을 통제하지 못하고 요마가 된다. 이후 여행을 통해 깨달음을 얻는다. 이러한 면모는 힘을 사용하는 서양 영웅들과 확연히 구분된다. 이를 아시아적 가치를 가진 영웅이라 할 수 있다. 셋째, 모험, 환상, 아이템활용 등 문화콘텐츠산업에서 활용될 수 있는 여지가 많다. 모험은 이야기의 대중적 확산에 기여하고, 환상은 만화ㆍ애니메이션ㆍRPG 등과의 융합이 용이하며, 아이템은 캐릭터의 정체성을 표현하거나 디자인을 현대화할 수 있는 도구로 활용된다. 문화콘텐츠에서 손오공 이야기를 활용하는 양상은 다음과 같다. 첫째, 원작의 이야기 구조를 유지하면서 부분적 변용을 수행하는 양상. 만화 「나의 손오공(ぼくの孫悟空)」, 중국 및 일본에서 제작된 드라마 시리즈 등이 해당한다. 이 작품들은 문학작품을 멀티미디어로 표현했다는 점에서 의미가 있다. 그러나 독창성은 재현이 아니라 변용을 통해서 만들어졌다는 점에서 분명한 한계를 가진다. 둘째, 캐릭터와 아이템을 변화시키는 양상. 애니메이션 「SF서유기 스타징가(SF西遊記 スタ?ジンガ?)와 「날아라 슈퍼보드」가 해당된다. 이 작품들은 캐릭터와 아이템의 변화를 통해서 독창성을 획득했다. 이는 기초적인 각색 방법이지만, 변화의 폭이 적은 탓에 오히려 원작의 이야기가치를 유지할 수 있었다. 셋째, 이야기구조와 목적을 변화시키는 양상. 만화 「드래곤볼(ドラゴンボ?ル)」과 「마법 천자문」이 해당된다. 이 작품들은 원작에 구속되지 않고 다채로운 변용을 시도했다. 이야기 구조의 변용을 통해 흥미를 부각시켰고, 이야기 목적의 변화를 통해서는 교육적 가치가 강조되었다. As glocalism expands, and OSMU strategy is popularized, a development of story that can be commonly told in a self-sustainable sized regional market is needed. ‘Sun Wu Kong’ Story, the subject of this paper, is a very fitting example. Son Wu Kong is a character in Chinese classic story 〈Journey to the West(西遊記)〉 and has the following values. First, a regional value as the Asia’s representative character. Sun Wu Kung story’s background covers China, Silk Road, Nepal, and India. A similar character can also be found in India’s epic 〈Ramayana〉. This is an opportunity to establish close and friendliness with the consumers. Second, a cultural value as a character grows through training and asceticism. Sun Wu Kung is born from a boulder, a natural object, lives as an animal, attains a great strength, but cannot control it and become a monster. Afterwards, he learns through the travels. This aspect is certainly different from the Western Heroes, who use their strengths. He can be thought of as a hero with Asian Culture values. The adventure adds to the popularization of the story, the fantasy is useful for integrating with comics, animation, and RPG, and items can be used as tools to express the character’s identity or modernize the design. There are many ways to utilize the Sun Wu Kong story as a cultural content. First, maintain the original story structure and only changing the parts of it. Comic 〈My Son Wu Kong〉, and other drama series produced in China and Japan, fall into this category. These works have significances as a cultural work expressed in the multimedia format. However, originality comes from change, not from reproduction. Second, change the character and the items. Animation 〈Starzinger〉 and 〈Fly, Super Board〉 fall into this category. These works obtained originality through change of character and items. This is a basic adaptation method, but it can maintain the original story’s value because the range of modification is small. Third, change the story structure and the objective. Comic book 〈Dragon ball〉 and 〈Magic Thousand-Character Classic(千字文)〉 fall into this category. These works was not constrained by the original work and tried out many changes. They boosted the interested through change of story structure, and created educational value through changing the objective of the story.

요리만화의 스토리텔링 양상 연구

최수웅(Choi Soo-Wung) 인문콘텐츠학회 2010 인문콘텐츠 Vol.0 No.18

‘먹기(eat)’는 인간의 본능을 해소하기 위한 행동이고, ‘음식’은 지역 문화의 총체이며, 이 둘을 포괄하는 ‘요리’는 교류 활동을 의미한다. 그러므로 이들은 인간 삶의 면모를 드러내는 중요한 텍스트로 활용될 수 있는 가치를 가지고 있다. 만화는 오래전부터 이런 가치에 주목하여, 세계 각국의 요리를 소재로 한 작품들이 다수 발표되어 왔다. 이처럼 만화와 요리가 손쉽게 결합되는 이유는 다음과 같은 만화의 속성에 기인한다. A) 소재의 다양성. B) 만화 매체의 단순성과 추상적 표현. 일본에서는 이를 ‘데포르메(デフォルメ, deformer)’라고 부른다. C) 문자를 통한 정보전달의 용이성. 지금까지 발표된 요리 만화의 스토리텔링 양상은 다음의 세 가지로 정리된다. 첫째, 대결을 통한 성장. 데라사와 다이스케(寺?大介)의 ?미스터 초밥왕?(원제 : ?太の?司)이 대표적인 작품이다. 이 작품에 활용된 스토리텔링 양식은 ‘파워 에스컬레이트 시스템’이라고 설명된다. 둘째, 환유를 활용한 정체성 찾기. 허영만의 ?식객(食客)?이 여기 해당하는데, 이 작품의 스토리텔링은 민족문화의 전통을 되살리는 음식을 소개하는 내용이 주를 이루고 있다. 셋째, 일상적 공간에서 이루어지는 소통. 아베 야로(安倍夜)의 ?심야식당(深夜食堂)?이 여기 해당한다. 이 작품은 대도시 생활에서 소외된 이들이 음식을 통해서 서로 유대를 형성하고 소통하는 내용을 다루고 있다. 앞으로 요리만화가 아시아 전체를 아우르는 문화콘텐츠로 활성화되기 위해서는, 공모전 등을 통해 다양한 소재를 개발하는 노력이 꾸준하게 진행되어야 할 것이다. ‘Eating’ is an action performed to resolve human instinct. ‘Food’ is the summation of regional culture. These two objects can be combined as ‘Cooking’ which defines exchange activity. Hence, these objects can be applied as important texts presenting aspect of human life. Comics has been focusing on such fact for long period of time and many works involving cooking of various countries in the world have been reported. The reasons are as follows. A) diversity of material. B) simplicity of cartoon medium and abstract expression. It is known as ‘deformer(デフォルメ)’ in Japan. C) availability of information delivery through text. Storytelling used in cooking cartoons reported until present can be classified into 3 aspects. 1) growth through competition. Daisuke Terasawa’s 〈Show Ta’s Susi(?太の?司)〉 is a representative work. Storytelling applied in this work is explained as ‘power escalate system’. 2) searching identity use of metonymy. Hur Young Man’s 〈Cooking Traveler(食客)〉. Main storytelling is to introduce food that resurrects tradition of national culture. 3) communication of the daily space. Abe Yaro’s 〈Midnight Bistro(深夜食堂)〉. Storytelling in this work deals with mutual communication of neglected ones in metropolis through food. To activate food cartoons as cultural contents that bring overall Asia together, efforts to develop diverse materials through arts contests should be made consistently.

미야자키 하야오 애니메이션의 동화 활용방법 연구

최수웅(Choi, Soo-wung) 한국아동청소년문학학회 2014 아동청소년문학연구 Vol.- No.15

소설과 영화의 창작방법론 비교분석 - 〈벌레 이야기〉와 〈밀양〉을 중심으로

최수웅(Soo-wung Choi) 어문연구학회 2007 어문연구 Vol.54 No.-

  This paper would compare and analyze the creative methodology focused on fiction, the story of worm by Chung-Jun Lee and a movie, Secret Sunshine by Chang-Dong Lee. Fiction and the cinema have commonness in the aspect of having story. On the other hand, as we observed before, they are definitely different points of view such as creator, medium, scene construction, description, narration and dividing unit of storytelling. Therefore, it is clear that each genre, fiction and the cinema is a independent field which has a different value.<BR>  An important point will be the feature of interaction between fiction and the cinema. Since a movie was created, fiction has had a role of story bank. However, it looks problematic for a motion picture to use fiction story directly. In order to transform fiction story into the screen, it should be adapted according to the medium. This difference is caused not only simple part of technique but also whole part of creative methodology to storytelling.<BR>  As we know, creative methodology does not build by itself, but it could systemize through continued interaction of the new technique of other fields. Fiction and the movies also have developed each other through interaction. In the beginning, a film accepted the symbol, hint and underplot of a novel. Similarly, a novel received the technique of montage and others from a film. Such interaction looks continuously increased in the future. This is the main reason why researchers keep trying to compare and analyze the creative methodology of fiction and the screen. However, such interaction does not always bring about positive results.<BR>  This is because an indiscreet acceptance will make the identity of each genre unclear. It will gain the value while a novel maintains the character of letters. Also, the screen will acquire originality while it applies the character of an image.<BR>  Comparing and analyzing the creative methodology of fiction and the screen in this paper have been researched on the basis of such recognition of limitation. The interaction between the two genre will be possible as long as they maintain their own identities. Therefore, the difference between two genre will be presented clearly through comparing work, and their identities also will be definitely indicated.<BR>  Finally, as a researcher have more valuable discussion with many works from now on, more practical creative methodology will be produced. Furthermore, it is expected that this study is likely to be applied to fiction and the screen writing, and creative education field.

황진이가 가진 남북한 공통 문화텍스트로의 가치와 활용가능성

최수웅 ( Soo Wung Choi ) 한국언어문화학회 2011 한국언어문화 Vol.0 No.45

Many researches on the necessity of cultural exchange between South Korea and North Korea have been made, and there is a social consultation on it. However, actual exchange activity was not active. In order to overcome the current condition, a change of research methodology is required. While researches till now have focused on the necessity of exchange, it is time to reevaluate the cases and its achievements and limitations in order to make a specified practice plan. This study aims to explore actual practical plan of exchange with reference to Hong Seok-Jung`s novel 〈Hwang Jin-Yi〉 and movie 〈Hwang Jin-Yi〉 directed by Jang Yun-Hyun based on the novel of Hong. Initially, the story value of Hwang Jin-Yi was examined. The results are as follows: first, she is a multi-dimensional character in terms of its interpretation, second, though she is a historic figure, he story belongs to fiction where imagination of authors can be exerted easily, and third, activities of her covers literature, music, dance and art which enables to describe multimedia expression. Based on the above values, analysis was carried out. Hong`s novel 〈Hwang Jin-Yi〉 is valuable in that it ridicules the hypocrisy of the ruling class and creates a new character which can be explained with a trickster or clown. It is also noteworthy that this work contains rich narratives of history and customs. It plays a role in enriching the size of story, stressing the symbolic meaning and elevating atmosphere. To the contrary, the film by Jang did not have good results both in a box office and criticism. The reasons are as follows. It fails to express the new character which the original work created. Miscasting was also another reason for failure as the character was not properly expressed by actors. And, the dramatization is made focusing on episodes, which has a limit to embody the rich discourse of the original work. The cultural exchange utilizing Hwang Jin- Yi does not look successful. However, the attempt itself has a significant meaning as it proved that the literature of North Korea, which was undermined as an dependant of ideology, could be used as an original source of cultural contents. When more active exchange is made, multi-layer review of story value of the original work is made, applicable media and its character analysis is adopted, and introduction of refined expressing method is made, then, there will be a more successful cultural exchange between the South and the North.

한국영화에 나타난 ‘만주’ 표상의 가치와 활용방법 연구

최수웅(Choi, Soo-wung) 순천향대학교 인문학연구소 2015 순천향 인문과학논총 Vol.34 No.4

‘만주(滿洲)’는 한국영화에서 중요한 의미를 가지는 표상이다. 1960년대 활발하게 제작된 만주웨스턴은 웨스턴 장르의 문법을 한국 상황에 접목시키기 위한 방편으로 만주 표상을 활용했다. 만주가 가진 개척지로의 면모를 부각했고, 일본 제국주의에 대항하는 고독한 영웅으로 독립투사를 제시했다. 하지만 이들 작품에 재현된 만주는 이국적 풍경으로 작용했을 뿐, 공간의 역사와 정체성에 대한 성찰이 부재했다. 만주웨스턴의 주제가 박정희 정권이 강조했던 집단가치와 손쉽게 결탁되었던 이유도 여기에 있다. 만주웨스턴의 완결판으로 평가되는 이만희 감독의 <쇠사슬을 끊어라> 역시 다르지 않다. 이전 작품들과는 달리 개인적 욕망을 추구하는 캐릭터를 내세웠지만, 결국 이들의 욕망도 국가주의라는 대의명분으로 봉합되어 버린다. 이러한 성과와 한계를 바탕으로, 김지운 감독의 <좋은 놈, 나쁜 놈, 이상한놈>이 만들어진다. 이 작품은 기존 만주웨스턴의 창작방법을 계승하면서 보완한다. 다양한 장면연출을 통해 혼종성을 강화했는데, 이는 역사적 상황을 반영한 것이다. 또한 만주를 개인적 욕망의 각축장으로 표현했는데, 이를 위해 각 캐릭터의 욕망을 ‘돈’이라는 매개물을 통해 구체화했다. 또한 등장인물들이 가진 욕망의 발현과 충돌을 속도로 표현함으로써 새로운 활용방법을 창출했다. 그러나 이 작품 역시 만주 표상의 가치를 충분히 활용했다고 판단하기는 어렵다. 어디까지나 발전적 계승이라는 점에서 의미를 가진다. 무엇보다 혼종성의 폭이 여전히 한정적이라는 점에 아쉬움이 남는다. 일제강점기 만주는 보다 다양한 민족과 문화가 혼재된 땅이었다. 이를 반영할 필요가 있다. 또한 만주의 역사에 대한 깊은 천착도 필요하다. 특히 독립투사들의 활동은 보다 구체적으로 조명되어야 한다. 그동안의 작품들은 한정된 사료(史料)만 활용했고 표현도 막연했다. 만주는 현재 중국 영토에 속한다. 하지만 만주 표상만큼은 한민족은 물론이고, 일제강점기라는 엄혹한 시절을 함께 견뎌낸 모든 민족이 공 유할 수 있는 공통의 자산이다. 앞으로 관련 연구가 진행될수록 만주의 여러 의미가 드러나고, 다양한 활용방법이 도출될 것이다. ‘Manchuria’ is a representation that has important meanings in Korean movies. Manchurian westerns that were actively produced in the 1960s utilized Manchuria representations as a means to graft the grammar of western genre to Korean circumstances. They highlighted the appearance of Manchuria as the frontier and presented the fighters for national independence as lonely heroes fighting against Japanese imperialism. However, Manchuria that was represented in these works acted only as exotic scenery and had no introspection on the history and identity of the space. This is the reason that the theme of the Manchurian westerns colluded easily with the collective value emphasized by the Park Chung-hee regime. Break up the Chain that is evaluated as the Director Lee Man-hee’s final edition also shows no difference. Unlike the previous works, it set forth the character that pursued personal desires but eventually these desires were also sealed in a good cause that is nationalism. Based on these achievements and limitations, Director Kim Jee-won’s The Good, The Bad, The Weird was made in 2008. This work inherits the creation method of the existing Manchurian westerns, and at the same time, complements it. Through creation of diverse scenes, it reinforced hybridity and this reflected the historical circumstances. Also, Manchuria was represented as the arena of competition of personal desires and to do this the desires of the characters were materialized through ‘money’ as the medium. And it created a new utilization method by representing the expressions and conflicts of the desires of the characters through speed. However, it is also difficult to judge that this work sufficiently utilized the value of Manchurian representation. It has only significance in terms of developmental inheritance. Most of all, the fact that the breadth of hybridity is still limited leaves much to be desired. In the Japanese colonial era, Manchuria was the land where more diverse ethnic groups and cultures were mixed. It is necessary to reflect this. Also, it is necessary to delve into the history of Manchuria. Particularly, the activities of the fighters for national independence should be highlighted more concretely. The existing works have utilized only limited historical data and their expressions were vague. Currently, Manchuria belongs to the Chinese territory. However, at least Manchuria representation is a common asset that can be shared by not only Korean people but all the nations that endured together the harsh Japanese Colonial era. As the related researches continue to be conducted, various meanings of Manchuria will be revealed and diverse utilization methods will be derived.

일반 논문 : 소설을 활용한 문화콘텐츠 스토리텔링 창작방법

최수웅 ( Soo Wung Choi ) 단국대학교 한국문화기술연구소 2008 한국문화기술 Vol.6 No.-

Recently, it has various tried to create cultural contents with applying fiction in cultural industries. However, such tendency seems to look merely temporary phenomena. This is because there are lack of theoretical studies, although we can find few examples for evidence. Literature and cultural contents acquire meaning when the user appreciates them. Therefore, new methodology of creative storytelling will be desperately required. There are three ways to the methodology of creative cultural contents with applying fiction. To begin with, reconstruction of plot : In order to transform fiction into contents, it need to delete first the character of letter in its plot. It means that plot should be divided with story and description. Story which has universal feature will be used directly or applied some parts to the contents. However, description which reflects the character of a medium will be reconstructed into the new form of each genres. In this part, creators can add their own ideas. Consequently, storytelling is able to replace the function of plot. Second, storytelling focused on space : Through combination of time and space, fiction acquires concreteness and forms meaning. On the other hand, space is a crucial feature for progressing storyline in cultural contents. As a result, an unit of storytelling will be divided according to the change of space, and connected to next scene. Finally, construction of scenes : the step of making a scene produces several effects. At first, it expresses the time of happening in the specific part. Also, it realizes characters’mentality and psychology. In addition, creators can symbolize many informations through a special scene. It is expected that more effective methodology would be prepared in the process of transforming literary works into cultural contents.

사이버문학관 운영 방안 연구

최수웅 ( Choi Soo-wung ) 한국문예창작학회 2006 한국문예창작 Vol.5 No.2

Literature house is not a simple exhibition hall, and has different character compared with ordinary museums. The main function of exhibition hall and museums will be display and preservation. However, literature house needs to promote visitors and their active participation including above function. For instance, as ‘the theory of the second generation literature house’ in France, the priority should focus on ‘what to do’ rather than ‘what to have’. Literature house in the internet means a sort of virtual reality. There are four main function: first, to advertise literature hall in reality, and then to provide various digital contents which can not prepare real display window, next, to unite the patrons and promote their activities, in the last, to revitalize the number of customers in the real hall through those roles. In December 2006, the number of literature house is up to 36 in Korea, and approximately 69. 44% among these runs their own home page in the cyber space. This seems high percentage compared with other countries. However, such home pages needs to develop the concept of management, because now it just provides simple advertisement. This research indicates the two ways to promote literature house in the internet. The first is to improve the contents of applying literary works. The various products are introduced such as audio book, composing songs, dramatizing the original, the commercialization of wall paper, the development of blog, skin and creating games. The second is the revitalization of community to extend visitors participation. For instance, constant upgrade the cyber space, and building the network of the patrons as well as other literature houses. In order to realize the scheme, above all, the manager of literature house should have vision and strong willingness. Furthermore, a special staff needs to be trained to work such ideas. It will consist of literature researchers, contents developers, homepage designer, digital contents programmers, game developers and server managers. In addition, it should be more effective, when marketing managers and event planners take part in this project.