미지근한 밤

박현우 동국대학교 영상대학원 2021 국내석사

구출

방원원 동국대학교 영상대학원 2023 국내석사

저는 무척 운이 좋은 편입니다. 중국 전역에서 한가구 정책을 추진하고 한 아이만을 키워야 하는 시대에서, 저는 다행히 가족에게 사랑을 받을 수 있었습니다. 그러나 저와 달리 일부 여성들은 가정으로부터 버려져 있습니다. 이러한 이유로 한국에 와서 공부할 수 있게 해주고, 동국대학교 영상대학원에 올 수 있도록 허락해준 가족 모두에게 감사드립니다. 여성의 문맹률이 남성을 훨씬 능가하는 지금, ‘구출’이라는 이름으로 졸업 작품을 내고 대학원 학위를 받을 수 있어 무척 기쁩니다. 이 작품의 완성은 교수님의 지도와 학과 선배님들의 도움 덕분에 가능했습니다. 그분들 덕에 비로소 중국 배경의 작품이 한국어로 잘 표현될 수 있었습니다. 이 작품에는 여성의 이야기가 담겨 있습니다. 저는 여성이라는 이유만으로 친부모에게 버림받은 여자를 본 적이 있습니다. 그들은 아름답고 착해서 세상의 작은 따뜻함을 바라는 길을 힘겹게 나아갑니다. 그러나 저는 그들을 진정한 의미에서 구할 수 없었고, 그들에게 어둠에서 벗어나 멋진 삶을 사는 법을 가르쳐 줄 수 없습니다. 작품 속 경찰이 아무리 노력해도 유괴된 어린이 하나를 구하지 못한 것처럼, 나 역시 이 모든 것을 지켜볼 수밖에 없습니다. 그렇다고 침묵하는 것도 달갑지 않습니다. ‘구출’이라는 작품을 통해 중국 전역과 전 세계의 모든 여성들이 자신을 구출하는 길로 나아가길 바라며, 세상에 얽매이지 않고 용감하게 나 자신이 되고, 용감하게 자신을 사랑하기를 기원합니다. 我很幸运,在全中国推行一个家庭只养一个孩子的时代,在一个家庭只能有一个孩子的时候,作为一名女性依然得到了家人的爱。没有像一部分女性那样因为是女性遭到家庭的遗弃。在此感谢我的家人,同意我来到了韩国学习,并且按照自己的意愿就读了东国大学的研究生。在女性文盲率遠超男性的当下,用名为《救援》的毕业作品拿到了研究生学士学位。 这篇作品的完成,必须要感谢教授的指导和学科前辈们的帮助。才让这篇中国背景的作品用韩语得到了很好的呈现。 作品中涉及到了女性话题。我见过仅仅因为自己是女性就被亲身父母抛弃的女生。他们美丽善良,在乞求世界一点点温暖的道路上艰难前行。我无法从真正意义上去救他们,我也不知道如何教他们走出阴霾并且获得美好的生 活。就像作品中的警察无论怎样努力都没能救出被拐卖的儿童一样,現實中的我也只能看见这一切的发生。但也不甘愿为此沉默。 以《救援》这部作品,祝愿全中国以及全球所有女性都在通往救出自己的道路上,不被世间万物束缚,勇敢的做自己,勇敢的爱自己. I am very fortunate to be a woman in an era where only one child per family is implemented throughout China, and when there can only be one child in a family, as a woman, I still have the love of my family. Not like some women were abandoned by their families because they were women. I would like to thank my family for allowing me to come to South Korea to study and to study as a graduate student at Dongguk University according to my own wishes. At a time when the illiteracy rate of women is far higher than that of men, I used my graduation work titled "Rescue" to obtain a postgraduate bachelor's degree. The completion of this work must be thanked for the guidance of the professor and the help of the seniors of the discipline. That's why this Chinese background work is well presented in Korean. The content of this work involves the subject of women. I've seen girls who were dumped by their own parents because they were women. They are beautiful and kind, and they work hard on the road, begging for a little warmth from the world. I really can't save them, and I don't know how to teach them to come out of the darkness and live a better life. Just like the police in this work can't save the kidnapped child no matter how hard they try, in reality I can only watch this happen. But I don't want to be silent about it. With this work of rescue, I wish all women in China and all over the world to be on the road to rescue themselves, not be bound by all things in the world, be brave to be themselves, and love themselves bravely.

영화 음악의 극적기능 연구 : -영화<조커(JOKER)>를 중심으로-

장온윤 동국대학교 영상대학원 2022 국내석사

Film music has received more and more attention from movie-makers and audience as soon as the era of sound films began. Today, as one of the essential elements in sound films, film music has integrated with image and played an important role in movies. In this thesis, the dramatic functions of film music were discussed. Firstly, theories related to film music were sorted and discussed. As one of the special elements of movie sound, film music varied in four types. Secondly, letimotive, the most recognised method of film music composition was discussed to find its influence. Finally, as film music and images are inseparably integrated, there were three ways they integrate and their functions were sorted. Based on the above theoretical background, music in the film <Joker> were selected as research objects to find out the dramatic functions of the film music through specific analysis. Among all the music, <That’s Life>, <Bathroom Dance> and 6 other music were analyzed. Although shortcomings remain in this thesis, it came up with four dramatic functions of film music through combined theoretical knowledge and analysis of specific film music and made a comparison with the research results of other studies. More studies of film music are expected so that more excellent film music will be produced and audience will be given richer audio-visual enjoyment.

김광석 노래의 가사 연구 : 대중성과 일상성을 중심으로

이수정 동국대학교 영상대학원 2023 국내석사

The purpose of this study is to analyze the music of singer-songwriter Kim KwangSeok in order to identify how it has maintained popularity for generations. This study analyzes the keywords, phrases, and musical contexts that have connected with audiences for more than 30 years. Kim KwangSeok is a significant folk music singer and composer in South Korea. His songs contain deep and meaningful lyrics that range from social criticism to highly emotional poetic verses. In order to best understand the context of Kim KwangSeok’s music, this study begins by exploring the concepts, history, and characteristics of popular and folk music in South Korea. This study explores why the public adores Kim KwangSeok’s music. While Kim KwangSeok is a skilled singer-songwriter, his talents will only be assessed in relation to his enduring popularity and the success of his music. Kim KwangSeok’s five most popular songs were selected and are analyzed by a variety of criteria to identify how they have continued to be popular for over 3 decades. Listener interviews in addition to lyrical, harmonic, and melodic analysis give a compelling story to Kim KwangSeok’s lasting success. The songs selected for the study include both compositions by Kim KwangSeok and songs composed by other artists that he recorded and popularized. These recordings represent the most popular and influential of his expansive repertoire. The selected songs are “It Was Not Love if it Hurt That Much”, “With a Heart that Should Forget”, “About Thirty”, “Love Was”, and “The Story of an Old Couple in Their 60s”. These songs are divided into two primary themes: life and love, then are assessed by many criteria. Kim KwangSeok’s music, true to its folk origins, values lyrical content and emotional story telling beyond that of other genres. Folk artists use minimal instrumentation with simple and repetitive melodies to emphasize the lyrics. Therefore, this study focuses on analyzing the lyrical content of Kim KwangSeok’s songs. Analysis of form and harmony are done to show how the arrangements support the narrative of the songs. Additionally, a qualitative study of in-depth interviews with a varied selection of members of the public was conducted to further understand the meaning of his music. An in-depth study of the form, groove, key, tempo, and harmony of each song are conducted to better understand the compositions. The results of this musical analysis confirm the folk origins of the music and show how the harmony complements and emphasizes the lyrical content. Following the musical analysis a deep-dive into the lyrical content of the music is taken. To fully understand the narrative of the songs; all words, phrases, and references are researched and explained. Furthermore, correlations between lyrics, narrative, and musical arrangement are identified and explored. Moreover, by analyzing the results of eleven cross-generational interviews it can be found that while there are differing interpretations of meaning the songs are still relatable to all people. Lyrical analysis shows that Kim KwangSeok’s music uses everyday spoken vocabulary and phrasing making the songs universally relatable. The words create vivid images for all listeners; as songs utilize common life events that everyone have experienced. Additionally, Kim KwangSeok’s emotional expression and unique vocal tone add a sentimental feeling to his music that draws listeners into the story. Poetic and memorable lyrics invite listeners to sing along and experience deep emotional memories together. Kim KwangSeok brought the narratives to life in his listeners’ imaginations; creating an amazingly profound mark on the Korean folk music world. Music is a tool to convey the joys and sorrows life, it enriches relationships and brings deep meaning to existence. Kim KwangSeok was an amazing singer who’s sincerity and talent connects deeply with his audience manifesting sincere and heartfelt emotions. This study exemplifies the timelessness of Kim KwangSeok’s music; verifying the importance of stories about life and love.

브릿팝이 한국 인디 음악에 끼친 영향

류정헌 동국대학교 영상대학원 2022 국내석사

It is reasonable to consider Britpop not as 'British music' as the word implies, but as 'a cultural movement' that has influenced all aspects of society, culture, politics, and music. It was the most important cultural movement in the early 1990s in connection with British sub-culture, art, politics, film, and fashion as a tower built by absorbing and integrating all existing things and building individuality and passion on top of it for novelty. Reaganomics in the United States gave rise to alternative culture, and Thatcherism in England became the background for britpop. The situation in Korean society in the 1990s was not much different, so I think it was quickly accepted. Britpop started for a clear reason. It was the antithesis of the generation who wanted to abandon the era suffering from Thatcherism and create a new world. However, not everything was born naturally from the beginning. It is true that a new hero was needed, but someone who was prepared did not clearly exist, so the leaders were born as a result of media instigation, political necessity, and public expectations. The media paid attention to a rookie band with a lot of star characteristics Suede, who did not even release a debut album yet. They appeared on the cover of a magazine to announce that they are the new protagonists and the media put Blur and Oasis into a confrontation to incite a fight. The public reaction was explosive and everyone enjoyed the fight. Pulp, who had taken a step back, walked on an independent path and provided endless stories to tell. Britain succeeds in capturing the eyes of the world again in this way. But the overly local (British) and overly exaggerated Britpop party didn't last long. First of all, everyone was intoxicated with the party atmosphere and missed the point of raising their voices. Opinions disappeared and the bands began to rely too much on each other. Another problem was that there were not enough talented British guitar bands. It means that there was an atmosphere of unconditional cheering rather than talent or musical effort. It reminds us of the era of girl groups were all over the place in Korea. Such situation creates an atmosphere of over-publishing low-quality content with the goal of short-term box office success, and the public will soon be disappointed and turn their backs. Britain in the late 1990s, when the economy was booming with a new Labor government, was drunk with the crude, tickling optimism of the Spice Girls and All Saints. Britpop turned its back on this shameless level of euphoria, eventually ending with Pulp's 1998 album <This Is Hardcore>. Now people were only interested in news of the band's disbandment, not Britpop music anymore. What would have happened if it had been allowed to mature spontaneously and there had been no rush of cool Britannia and no exaggeration of the media? Britpop's fate would be different if there was no useless warfare by creating an artificial confrontation structure? Although there were times when Britpop was hyped up by the media and swept away by political issues, it served as an alternative culture. I think that this spirit of the times had big influence on Korean indie music. The message and power of alternative music from the United States was great, but the power of Britpop from Britain, which encompassed the whole culture, is well thought-out- about the fundamentals, and is armed with diversity and free thinking, gave a great resonance to the Korean land of the same time. In order to more actively accept Britpop, which could come across only through several magazines and TV programs, the Korean public made its own version. With the spirit of DIY indie, they created small groups online to exchange information, and some of them opened live clubs and held performances. PC communication, music rooms, and live clubs played a major role in this. . Bands were formed, performances were chatted, each other's playlists were shared in these places. Styles that did not exist before popped up here and there, and the audience cheered them on. Existing Korean rock music was their own league where long-haired ‘hyungs(guys)’ shouted loudly, but Britpop's various attempts brought diversification of genres, which created an atmosphere where bands of various styles could be born. The emergence of brand-new bands helped create a wider fan base and, as a result, played a major role in energizing the music scene. The courage of reform influenced Britpop led to the diversification of genres, and it can be said that it taught the Korean fans the indie spirit of studying and creating on their own, departed from the standpoint of passive creators and audiences. A movement called <We can do it, let’s do it too> arose, and this can be seen as the driving force behind the creation of the first generation of indie culture in Korea. Korean indie music in the 2020s is gradually entering the world market just like K-pop did. It was also the purpose of this study to examine why Britpop flourished and did not last long so that we can grow into a tree with deep roots that will not end with ‘plausible foreign music made by Koreans’ and will not stop as a fashion of an era. For a person who will buy and drive a car it wouldn’t be necessary to know about the history and structure of the car. However, for a person who will make a car, everything from the reason for its birth to its development process and structure should be interesting. It is the priority before making a better car. Learning from the past and not repeating same errors are the beginning of developing the new technology. Likewise, a person who simply listens to and enjoys music does not need to know the history, philosophy, composition, and other complicated things about music. However, if you are at least a creator, a producer, or a music lover, you should dream of a better present and future by reflecting what you have learned from the past, for a better world of music and a better life for mankind. In addition, since the data on the short history of Korean indie music of about 20 years is very insufficient, the limitation of this study was that it had no choice but to rely on the testimonies of some people who led the time. As studies and researches on this field are quiet new, I hope more systematic and objective data will be accumulated in the future and many meaningful and insightful results will follow. ‘브릿팝(Britpop)’은 단어의 의미로만 보면 ‘영국의 팝 음악(British Pop Music)’이지만 단순히 한 장르의 음악 얘기에 그치지 않는다. 지리적 특성보다는 문화적 특성이 더 중요하게 다루어져야 하기 때문이다. 대체 무엇이 다르기에 유독 브릿팝은 큰 함의를 가진 대명사가 되었을까? 브릿팝이 탄생하던 때엔 무슨 일이 일어났으며 어떤 갈증이 있었기에 변혁의 바람이 불었던 것일까? 브릿팝 밴드들은 어떤 메시지를 던졌고 왜 대중은 반응했는가? 정치, 예술, 문화 전반을 들썩이게 만든 힘은 대체 무엇인가? 라는 질문들에서 본 연구는 시작되었다. 브릿팝은 80년대 후반에서 90년대 초반까지 이어진 사회, 문화, 예술 전반의 움직임을 담고 있는 큰 변화이자 진통이었다. 일부에선 미국의 그런지(Grunge) 많은 사람들에게 그런지는 1977년 펑크(Punk)의 윤리와 태도를 바탕으로 클래식 록이라는 장벽에 최초로 구멍을 뚫어버린 음악인 것처럼 느껴졌다. 즉, 그것은 록의 새로운 미래로 여겨졌던 것이다.(밥 스탠리, 「모던 팝 스토리」, 2016) 와 함께 1990년대 얼터너티브 록 장르로 정의되고 있지만 이는 브릿팝을 그저 하나의 음악 장르로만 정의하는 오류이다. 브릿팝은 음악의 장르가 아닌, 문화 전반을 아우른다. 우선, 음악에 관한 얘기를 먼저 해보자. 비슷한 시기에 미국에서는 그런지 음악을 전면에 내세운 얼터너티브 록이 대세가 됐다. 1990년대에 등장한 그런지 문화는 X세대의 특화된 전유물로 여겨졌고, 경기 불황으로 고통을 받던 젊은이들의 냉소적이고 우울한 심리와 규정할 수 없는 태도를 대변하는 음악으로 자리 잡았다. 대표주자 너바나의 보컬 커트 코베인은 전 세계적인 우상으로 떠올랐다. 얼터너티브 광풍은 여지없이 영국에도 불어 닥쳤는데 여기서 몇 가지 충돌이 일어나게 된다. 첫째, 그런지 음악은 80년대에 영국에서 미국으로 넘어간 펑크 록이 미국의 록 음악과 결합하여 생겨난 장르이다. 이런 상황을 영국인의 자존심이 허락할 리 만무했다. 주도권을 빼앗긴 영국은 보다 영국적인 대항마가 필요했다. 둘째, 그런지와 브릿팝은 가치관의 충돌을 일으켰다. 그런지는 우울한 경험을 공유했고 영국의 현실과 동떨어진 음악이었다. 반면에 브릿팝은 긍정적 변화를 상징했다. 브릿팝은 기존의 음악들에게서 대안을 찾고자한 노력의 결과물이었다. 과거부터 있어 왔던 영국 음악의 전통을 모조리 흡수, 통합하여 새로움을 창조하였다. 이 분위기는 음악뿐 아니라 사회 전반에 영향을 끼쳤고 한 시대를 대표하는 운동이 되어버린 것이다. 흡수통합은 획일화가 아닌 다양성으로 흘렀기에 모든 다양성이 존중되었다. 바야흐로 문화의 춘추전국시대였던 것이다. 브릿팝을 들여다보면 당시의 문화, 예술, 정치, 영화, 패션을 알 수 있다. 토니 블레어 총리가 주창한 쿨 브리타니아 운동으로 정치와도 닿아있고, 동시대 젊은 아티스트들의 집단인 YBA(Young British Artists)들도 브릿팝을 빼놓고는 얘기할 수 없다. 브릿팝이 왜 생겨났고 어떤 경로로 확산되었으며 그것의 탄생이 가져온 사회적, 음악적 의미는 무엇인지 알아보는 것이 이 논문의 첫 번째 목적이며, 지역도 문화도 다른 브릿팝이 동시대 동시대라 말하기엔 몇 년의 간극이 있긴 하지만, 인터넷이 보급되기 전인 상황을 감안하면 동시대라 묶어도 무리가 없을 것이다. 한국 음악, 특히 이제 막 태동하기 시작했던 인디 음악 시장에 어떤 영향을 끼쳤는지 조사해 보는 것이 본 논문의 두 번째 목적이라 하겠다. 나아가 브릿팝의 흥망성쇠가 우리에게 가르쳐준 문화적 의미에서 어떤 것을 취하고 어떤 것을 개선하면 현재와 미래의 문화 성장에 도움이 될지도 생각해보기로 한다.

낭만적 사랑 이야기 속 남성 캐릭터 변용 연구 : TV드라마 <동백꽃 필 무렵>을 중심으로

양용준 동국대학교 영상대학원 2022 국내석사

The purpose of this study is to reveal the factors that establish romantic love in the romantic love story, and thereby analyze what characteristics male characters should have in the genre of romance. Romantic love stories have existed since ancient times, but it was from medieval Romance literature that this framework was established in earnest. Starting with the concept of court love, it was not until modern times that the form of the current romantic love story was completed. Romantic love in the story appeared differently depending on time and space, but "foreverity" and "purity" existed as common attributes. In the days of Romance literature, it was a love that was taboo because it was love beyond identity. So it wasn't a form of popular love. It was passionate and intense because it was a type of love that rebelled against the marriage that the family continued. In modern times, the order of the status system collapsed and free love began. As free love became commonplace, eternity and purity, which were taken for granted in Romance literature, began to become rare. In addition, romantic love became noble and eternal as it embraced the weakened status of religion. The main characters of the romantic love story did not calculate their interests and maintained a consistent love despite various hardships. This trend of romantic love was maintained in modern times. However, in modern times, when spaces and characters with cultural commonality were personalized around the city, the recipients missed the spaces and characters of local lyricism. They were irrational and less personal, but they were uniting each other with cultural commonality, and because they were irrational, they were foolish but pure. The characteristics of local lyricism and romantic love were combined to create a character like Yongsik. In <When the Camellia Blooms>, the obstacles to romantic love are reproduced as social pressure, family opposition, life threat, and dongback's own fear. In response, Yongsik and dongback overcome obstacles and show that emotions are not lost or transformed over time, but rather become stronger. Yongsik frequently shouts to the dongback that his heart will last forever. It also began with the beautiful appearance of dongback, but recognizes that dongback is the strongest person in Ongsan, and shouts that he loves dongback in the middle of the market. Yongsik's behavior of going straight without considering the interests of society was enough to recall the appearance of a romantic love knight. In addition, male characters who perform romantic love to modern recipients have also been variated. First, unlike in the past, it does not unilaterally seek female protagonists for love with active female protagonists. Rather than seeking, the female protagonist acts as a helper to awaken her values that she does not know. In the past, if it was a one-sided relationship, it was transformed into a character who achieved equal love. Second, the male characters of romantic love have become characters in which pre-modern purity and modern rationality coexist. Although they miss spaces and characters like their hometowns, their ability to permeate into the modern era, where individualism has been strengthened, has become important. 본 연구는 낭만적 사랑 이야기 속에서 낭만적 사랑을 성립하게 하는 요인들을 밝히고, 그럼으로써 로맨스라는 장르에서 남성 캐릭터가 어떤 특성을 갖추어야 하는지 분석하는 것을 목적으로 한다. 낭만적 사랑 이야기는 고대부터 존재했으나, 본격적으로 지금과 같은 틀이 잡힌 것은 중세 로망스 문학 때부터였다. 궁정연애라는 개념으로부터 시작하여 근대를 거치면서 비로소 지금의 낭만적 사랑 이야기 형태가 완성되었다. 이야기 속 낭만적 사랑은 시공간에 따라 다른 모습을 띄었지만, 공통적인 속성으로 ‘영원성’과 ‘순수성’이 존재했다. 로망스 문학의 시대에는 신분을 뛰어넘는 사랑이었기에 금기시된 사랑이었다. 그렇기에 대중적인 사랑의 형태가 아니었다. 가문이 이어주는 결혼 관계에 반기를 드는 사랑의 유형이었기 때문에 열정적이었으며 격렬했다. 근대에 들어와서는 신분제 질서가 무너지며 자유연애가 시작되었다. 자유연애가 일상화되자 오히려 로망스 문학에서는 당연시되었던 영원성과 순수성이 희귀해지기 시작하였다. 또한 약해진 종교의 위상을 포섭하면서 낭만적인 사랑은 고결하고 영원한 속성을 지니게 되었다. 낭만적인 사랑 이야기의 주인공들은 이해관계를 계산하지 않았으며 각종 고난에도 한결같은 사랑을 유지하게 되었다. 이러한 낭만적 사랑의 경향은 현대에도 유지되었다. 그러나 현대에는 도시를 중심으로 개인화되어 문화적 공통성을 가진 공간과 인물들이 사리지자 수신자들은 향토적 서정성의 공간과 인물들을 그리워하며 찾게 되었다. 이들은 비합리적이었고 덜 개인적이었으나, 문화적 공통성으로 서로를 결속시키고 있었고, 비합리적이었기에 어리숙했지만 순수했다. 이러한 향토적 서정성의 특성과 낭만적 사랑이 결합되어 용식과 같은 캐릭터가 탄생하게 되었다. <동백꽃 필 무렵>에서 낭만적 사랑의 장애물은 ① 사회적 압력, ② 가족의 반대, ③ 생명의 위협, ④ 동백 자신의 두려움 등으로 재현된다. 그에 대응하여 용식과 동백은 장애물을 이겨내고 시간이 지나도 감정이 풍화되어 사라지거나 변형되지 않고 오히려 강해지는 모습을 보여준다. 용식은 수시로 동백에게 자신의 마음은 영원할 것임을 외친다. 또한 동백의 미모로 시작되었으나 동백이 옹산에서 가장 강인한 사람임을 알아보고 시장의 한복판에서 동백을 좋아한다고 외친다. 사회의 이해관계를 따지지 않고 직진하는 용식의 모습은 낭만적 사랑의 기사의 모습을 떠올리기 충분했다. 아울러 현대 수신자들에 맞게 낭만적 사랑을 수행하는 남성 캐릭터들 또한 변주되어져 왔다. 첫째, 과거와 달리 능동적인 여자 주인공과의 사랑을 위해 일방적으로 여성 주인공을 구하지는 않는다. 구하기보다 여성 주인공이 자신도 모르는 자신의 가치를 일깨우는 조력자 역할을 수행한다. 과거엔 일방적인 관계였다면 대등하게 사랑을 이루어나가는 캐릭터로 변주된 것이다. 둘째, 낭만적 사랑의 남성 캐릭터들은 전근대적인 순수성과 근대적 합리성이 공존하는 캐릭터이게 되었다. 고향과 같은 공간과 인물들을 그리워는 하지만, 개인주의가 강화된 현대에 자연스레 스며드는 능력이 중요해진 것이다.

국내 여행콘텐츠 운영기획 연구 : Contents Management System 사용을 중심으로

남은정 동국대학교 영상대학원 2022 국내석사

In the travel industry, travel contents has existed as an incidental service for selling travel products. However, travel contents is certainly a priming water to achieve the purpose of selling products, and if accurate information is not provided, it is a major factor that leads to a decline in the reliability of product sellers. Nevertheless, it was difficult to find previous studies analyzed by travel contents itself. The reason was that in the travel industry, travel contents was difficult to manage by investing manpower and time. However, even if the impact of travel contents on consumers is not immediately visible, it is important to continuously manage and provide it. If so, how can the provider efficiently operate and manage travel contents? It is time to think about whether we can supply and supply information that will satisfy consumers without putting a lot of time and manpower into contents and provide it. CMS(Contents Management System) is used as a universal information management system in information and communications. Detailed planning depends on what contents you deal with, but this tool itself is not new or difficult. In addition, there are previous studies confirming that both providers and users have increased satisfaction with the introduction of CMS. However, it is difficult to confirm the contents of the travel industry introducing CMS for travel contents. The reason is that CMS itself is an operation management system that can be accessed internally, and it is difficult to check whether it is used by other companies. In addition, since building the system itself costs and time, it is a difficult decision to build it in the travel industry with a low margin rate overall. As such, it is difficult to find out the current status of CMS introduction of travel contents. However, this researcher has tried various storage methods while operating and managing travel contents for many years, but concluded that CMS is the most suitable. The reason is, first, that operation management does not require much time and manpower after system establishment. Second, the operator can directly deliver accurate information to the consumer using the system. It delivers fast service and satisfaction that immediately reflects the requested information to consumers. Travel contents itself is a major thing that can eventually lead to a decline in trust in the provider if it is timely and inaccurate. Therefore, through this study, travel content was no longer viewed as an incidental service of travel products, but was targeted for independent analysis. To this end, the current status of domestic travel contents provision was divided into product sales type, search platform type, and neutral information provision type. What all three places have in common is that they provide basic information, attraction information, and theme information. In addition, the actual case of travel content CMS was examined, and the structure was analyzed to confirm whether the contents commonly presented by the information provider were reflected. Through this analysis, what components are essential for operating and managing CMS for travel contents are summarized as follows. The first is the grant of a management number. Second, access rights vary by content life cycle. Third, it stores and manages all the history of the content. This summary is helpful in the basic composition of CMS for travel contents. Through this study, we hope that the awareness of the existence of CMS for travel contents itself will spread in the travel industry to consider CMS as an efficient way to manage travel contents. Furthermore, it is hoped that a system called contents management will be established at the base of the cultural contents industry. 본 연구 논문은 왜 여행콘텐츠를 지속 관리해야 하는지에 대한 당위성을 알아보기 위해 시작하였다. 이를 위해 현재 국내 여행콘텐츠 산업 현황을 살펴보고, 운영기획의 방안으로 CMS라는 ‘콘텐츠 운영관리 도구’를 제시하였다. COVID-19 이후, 현재 위드 코로나(With Corona)가 도래하였다. 거리두기가 해제되고, 감염자에 대한 관리 형태도 이전에 비해 완화되었다. 또한 해외 입출국에 따른 방역조건 역시 마찬가지다. 제한적이던 조건들이 완화될 때마다 검색포털의 검색어 추이만 지켜보아도 여행에 관한 관심이 늘어나고 있음을 알 수 있다. 정보로서의 해외여행, 여행상품으로서의 해외여행 모두 그 수치가 높아지고 있다. 이러한 관심도에 비해 온라인에서 통용되고 있는 국내여행 콘텐츠의 경우, 여행상품과 무관하게 독립적으로 콘텐츠만 제공되는 경우는 거의 찾아볼 수 없었다. 직접적이든 간접적이든 여행콘텐츠는 여행상품과 연결된 것이다. 다만 제공처의 여행콘텐츠 목적에 따라서 상업적·비상업적으로 나누어 볼 수 있었는데 상업적인 곳으로는 종합여행사인 트리플, 검색 플랫폼인 네이버를 예시로 보았다. 비상업적으로는 해외관광청을 살펴보았는데 그중에서도 한국인이 가장 많이 방문하는 여행지로 손꼽히는 괌을 대상으로 하였다. 위 세 곳의 여행콘텐츠의 공통점은 모두 기초적인 정보부터 사진, 테마형 콘텐츠를 제공한다는 것이었고 차이점이 있다면 상품과의 연결성이었다. 상품과의 연결성이 있다 하더라도 직접적이지 않았으며, 연결고리를 보여주는 선에서 상품을 제시하였다. 여행콘텐츠는 콘텐츠 그 자체로는 자생하기 어렵고, 궁극적으로 여행상품과 결부시켰을 때 기업에서는 수치화된 유의미한 결과를 얻을 수 있다. 콘텐츠 자체의 유의미성을 파악하기 어렵고 정량적인 양이 정성적인 질을 담보하지 않기에 콘텐츠가 얼마나 효과적이었는지 파악이 어렵다. 그런데도 여행과 관련된 검색어 추이, 여행상품과 관련된 검색어 추이, 여행 관련 통계 등을 살펴보았을 때, 소비자들은 여행을 꿈꾸고 이를 위해 지속해서 여행콘텐츠를 찾고 있음을 알 수 있었다. CMS라는 시스템은 보편화된 개념이지만, 이를 여행콘텐츠에 대입하여 체계적으로 관리하는 기업은 찾아보기 어렵다. 여행사에서는 여행상품을 판매하기 위한 수단으로 콘텐츠를 취급하며, 콘텐츠만 전문으로 제공하는 기업을 이제 찾아보기 어려웠다. 여행콘텐츠의 당위성을 확인하였으니, 이 콘텐츠를 효율적으로 관리하고 궁극적으로 소비자에게 실 서비스될 수 있는가를 고민하였다. 그 결과 가장 유용한 도구로서 CMS를 제시하였고, 이에 대한 사용을 권장하기 위해 요소들을 분석해보았다. 여행콘텐츠는 정확해야 하고, 시의성을 확보해야 하기에 사용자에게 빠르게 제공이 되어야 하기 때문이다. 연구를 통해 얻은 필요한 운영기획 요소들은 여행콘텐츠 CMS를 구성하는 데 필요한 기본값들로, 문자형·시각형 콘텐츠를 입력하기 위한 배경을 만드는 것과 같다. 이 배경을 통해 입력된 값이 모여 하나의 콘텐츠가 되고, 실서비스에 반영되기 위한 기술적인 요소들이 더해져 결국 소비자가 최종 경험하는 여행콘텐츠가 되는 것이다. 다만 외부의 입장에서, 제공처가 여행콘텐츠를 어떻게 백엔드에서 관리하고 운영하는지를 명확하게 알기 어려운 한계가 있었다. 운영관리도구 자체가 외부 접근은 물론 노출이 되지 않는 단계에서 관리되기 때문이다. 실제 여행콘텐츠를 새롭게 기획하고자 하더라도, 프론트엔드 서비스에 맞추어 정리될 뿐 정보를 체계적으로 쌓는 기본단계로서 CMS가 존재하는지조차 파악하기 어려운 상황이다.

메타버스 플랫폼에 반영된 소비자 욕망 연구

심정원 동국대학교 영상대학원 2022 국내박사

본 연구는 메타버스 플랫폼, 제페토(Zepeto), 브랜디드 콘텐츠(branded contents)와 관련된 이론적 논의를 통해서 각 개념과 현황을 살펴보고, 메타버스 플랫폼에 반영된 소비자 욕망의 근원과 매커니즘을 밝히고자 하는 것이 목적이다. 본 연구는 메타버스 제페토를 연구대상으로 주이용자인 Z세대와 알파세대를 조사대상자로 선정하여 비례확률표집(Probability Proportional to Size Sampling)에 근거하여 실증적 연구를 하였다. 그리고, 실증적 연구를 바탕으로 광고콘텐츠가 추동하는 작동 기제와 소비자 욕망 간 관계의 함의를 문헌고찰을 통해 심층적으로 분석하고자 하였다. 본 연구결과, 첫째, 자아일치성(Self-congruity)과 나르시시즘(narcissism)은 모든 유형이 브랜드몰입(brand commitment)과 구매의도(purchase intent)에 영향을 미치는 것으로 나타났다. 자아일치성은 ‘실제적 자아일치성(actual self-congruence)’이 ‘이상적 자아일치성(ideal self-congruence)’ 보다 강한 영향력을 미치는 것으로 나타났다. 또한, 나르시시즘은 ‘자기주도적 나르시시즘(self-initiative narcissism)’이 ‘타인의존적 나르시시즘(other-dependent narcissism)’보다 더 강한 영향력을 미치는 것으로 나타났다. 둘째, 물질주의 성향 가운데 ‘행복추구Acquisition as the Pursuit of Happiness)’와 ‘성공판단(Possession-defined Succes)’만 브랜드몰입과 구매의도에 영향을 미쳤으며, ‘소유중심(Acquisition Centrality)’은 영향을 미치지 못하였다. 특히 ‘성공판단’이 브랜드몰입과 구매의도에 미치는 영향력이 가장 큰 것으로 나타났다. 그리고, 물질주의(materialism)와 구매의도 간에 있어서 브랜드몰입의 매개효과가 나타났다. 아울러, 물질주의와 브랜드몰입 간에 있어서 자아일치성과 나르시시즘의 조절효과 검증결과, ‘성공판단’ 물질주의일때만 자아일치성과 나르시시즘이 브랜드몰입에 조절효과를 나타냈다. 셋째, 소비자가치(Consumer value) 가운데 ‘사회적가치’와 ‘이타적가치’ 유형만 브랜드몰입과 구매의도에 영향을 미치고 있었다. 특히 ‘사회적가치’ 유형이 가장 강한 영향력을 미치는 것을 확인하였다. 또한, ‘사회적가치(social value)’ 및 ‘이타적가치((altrustic value))’ 와 구매의도 간에 있어서 브랜드몰입의 매개효과(Mediating effects)가 나타났다. 그리고, 소비자가치와 브랜드몰입 간에 ‘사회적가치’와 ‘이타적가치’일 때만 자아일치성과 나르시시즘의 조절효과(moderating effects)가 나타났다. 실증적 연구결과를 토대로 문헌고찰을 통해 분석한 결과, 가상현실세계인 메타버스에서 자아는 자유자재로 아바타를 통해서 다양한 정체성을 구현할 수 있다. 현실의 결핍이나 불만족을 충족시키고자 하는 욕구나 욕망이 내재화된 아바타는 멀티 페르소나(Multi-persona)로서 가상세계에서 타인과 상호작용을 한다. 멀티 페르소나는 타인과의 관계 또는 사회적 관계에 의해 생겨나는 자아의 외피적인 산물로 또 다른 나의 정체성이자 나르시시즘의 발현에서 기인한다. 소비로 인한 욕망의 충족을 넘어서 자아도취적인 환상, 꿈, 즐거움, 욕망을 불러일으키는 매커니즘 속에 나르시시즘이 작동되고 있기 때문에 소비자는 상징적인 소비를 한다. 행복한 자기의 상태를 유지하려는 욕망인 나르시시즘은 타인의 반응에 의해 증폭될 개연성이 높기 때문에 매우 타인지향적이다. 특히 메타버스와 같은 가상세계에서 아바타를 통해 좋은 인상을 나타내거나 자신의 정체성을 확대 재생산하는 경향이 커짐에 따라 나르시시즘은 과거보다 더 세상에 드러나게 된다. 실증적 연구결과에서 나타났듯이, 타인이 소유한 물질적인 재화를 통해 성공과 행복의 준거 기준으로 삼고 있으며, 소비자 자신 또한 성공, 행복, 우월함, 자기애(narcissism)를 물질적인 재화를 통해서 표출하고 있다. 피에르 부르디외(Pierre Bourdieu)가 주장한 ‘구별짓기(Distinction)’를 통해서 ‘사회적 차이화(social differentiation)’를 이루고자 하는 욕망이 소비자의 심리적 기저에 존재한다는 것을 확인하였다. 이러한 심리적 기저에는 인정욕망을 비롯하여 소비 나르시시즘이 내재화되어 있다. 소비자는 재화에 대한 욕망을 성취하였다고 해서 욕망이 끝나는 것이 아니다. 욕망은 순환 구조 속으로 환원되어 끝이 없다. 광고는 동시대에 통용되는 환상과 이미지를 덧입혀 소비자들의 욕망을 환기시킨다. 어떤 브랜드의 제품을 소유했는가는 한 사람의 정체성을 드러내주는 매개체로, 그 사람의 사회적 지위, 성공, 권위, 행복 등을 나타내는 상징적 기호체계로 작동하고 있다. 그러므로, 소비자들의 소비 욕망은 가장 막강한 이데올로기로 동시대에 작동하고 있다고 해도 과언은 아닐 것이다. Innovation in digital media and technology is changing not only the way advertising is executed but also the essential concept of advertising. Even if the definition of advertising has changed, it does not change that advertising is ultimately a means of making consumers purchase any product or service. As consumers become the subject of information acquisition and sharing, companies are conducting marketing activities with brand messages in interesting ‘content’ which consumers can voluntarily acknowledge the brand. These advertising contents, in other words, branded content is strategically operated by global luxury brands on the metaverse platform. Metabus is a combination of ‘Universe’, which means the real world, and the prefix ‘Meta’, which means ‘virtual, abstraction, and transcendence,’ and is a new digital world where transcendental experiences are interconnected between reality and virtual. Branded content, which is developed on Metabus, is ostensibly playful and seeks to capture the hearts of consumers with intimacy and familiarity. The process of experiencing items of products of actual brands in virtual space will arouse consumers desires. As René Girard argued in the ‘Désir triangulaire theory’, consumers desire the product through the illusion shown in advertisements rather than directly desire it. Advertising, which is a medium of desire, drives consumption desire by naturally materializing products. Our desires and signs do not determine consumption behavior, but consumption behavior determines our desires and preferences. An evolutionary psychologist Geoffrey Miller argues that consumers fall into consumer narcissism due to the tendency to immerse themselves in the self by purchasing products for pleasure and showing them off to others or enjoying themselves. Consumerism, the concept of self-expression, is also known as ‘narcissism’. In particular, the characteristics of the digital media platform are further amplifying this narcissistic aspect. As Metabus ZEPETO freely implements self-identity through 3D avatars, it is likely that narcissistic characteristics will be internalized. Therefore, self-consistency and narcissism, which are individual psychological characteristics, will be closely related to materialism operated by advertising as a mechanism to drive consumer desire in Metabus ZEPETO. This study examined the mechanism of consumer desire with these four factors since the consumption value aimed at consumers would be different according to this materialistic tendency. Advertising marketing strategies developed by companies on Metabus are based on the characteristics of products or brands, but academic studies that deeply grasp the characteristics and psychological mechanisms of consumers who enjoy them as content are still very insufficient. Therefore, the purpose of this study is to examine each concept and current status through theoretical discussions related to the metaverse platform, Zepetto, branded contents, to clarify the source and mechanism of consumer desire reflected in the metaverse platform. This study selected Generation Z and Generation Alpha who are the main users of Metabus ZEPETO as the subjects of the study and conducted an empirical study based on Probability Proportional to Size Sampling(PPS). Based on empirical research, the implications of the relationship between the operating mechanism driven by advertising content and consumer desire were analyzed in depth through literature review. As a result of this study, it was found that all types of ‘Self-congruity’ and ‘narcissism’ affected brand commitment and purchase intention. ‘actual self-congruence’ was found to have a stronger influence than ‘ideal self-congruence’. In addition, ‘self-initiative narcissism’ was found to have a stronger influence than ‘other-dependent narcissism’ Among materialistic tendencies, only ‘Acquisition as the Pursuit of Happiness’ and ‘Possession-defined Success’ influenced brand commitment and purchase intention, but not ‘Acquisition Centrality’. It was found that ‘success judgment’ had the greatest influence on brand commitment and purchase intention. There was a mediating effect of brand commitment between materialism and purchase intention. As a result of verifying the moderating effect of self-congruity and narcissism between materialism and brand commitment, self-congruity and narcissism showed a moderating effect on brand commitment only when it was ‘success judgment’ materialism. Among the ‘consumer values’, only the types of ‘social value’ and ‘altruistic value’ affected brand commitment and purchase intention and confirmed that the type of ‘social value’ had the strongest influence. Plus, mediating effects of brand commitment were found between ‘social value’ and ‘altruistic value’ and purchase intention. Moderating effects of self-congruity and narcissism appeared only when ‘social values’ and ‘altruistic values’ showed between consumer value and brand commitment. As a result of analyzing through literature review based on empirical research results, the ego can freely implement various identities through avatars in metabus. An avatar that internalized the desire to satisfy a lack or dissatisfaction of reality interacts with others in the virtual world as a multi-persona. Multi-persona is the output of the ego generated by relationships with others or social relationships caused by another identity from expression of narcissism. Consumers consume symbolic consumption because narcissism is operating in a mechanism that evokes narcissistic fantasies, dreams, joy, and desires beyond the satisfaction of the desire caused by consumption. Narcissism, the desire to maintain a happy self-state, is highly other-oriented because it is likely to be amplified by the reaction of others. As the tendency to show good impressions through avatars or expand and reproduce one's identity in a virtual world such as metaverse increases, narcissism becomes more revealing to the world than in the past. As shown in the empirical research results, it is based on success and happiness through material goods owned by others, and consumers themselves express success, happiness, superiority, and narcissism through material goods. It was confirmed that the desire to achieve ‘social differentiation’ exists at the psychological base of consumers through ‘Distinction’ claimed by Pierre Bourdieu. Consumption narcissism, including the desire for recognition, is internalized in this psychological basis. The consumer's desire for goods does not mean that the desire for goods has been achieved. Desire is reduced into a circulatory structure and is endless. Advertising evokes consumers' desires by adding fantasy and images that are common at the same time. What brand of product it owns is a medium that reveals a person's identity, and it operates as a symbolic symbol system that represents the person's social status, success, authority, and happiness. Therefore, it would not be an exaggeration to say that consumers' desire to consume is working at the same time with the most powerful ideology. As a result of this study, it was possible to confirm the mechanisms of consumer desire is reflected in advertising content developed on the metaverse platform and multi-layered implications for contemporary consumer desires. The results of these studies will contribute to the direction and strategy of advertising content strategies that are based on the metaverse platform.

지역 콘텐츠산업 스타트업 활성화 지원 방안 : 충청남도 콘텐츠산업을 중심으로

김제곤 동국대학교 영상대학원 2022 국내석사

근래 들어 전 세계적으로 스타트업에 대한 관심이 뜨겁다. 스타트업 기업들의 제품과 서비스는 우리 일상의 풍경을 완전히 새롭게 바꾸고 있으며 기존 산업의 체계와 일자리까지 일시에 사라지게 할 정도로 영향력은 점점 커지고 있다. 콘텐츠산업 분야에서의 스타트업은 기존 산업 시스템의 견고한 장벽들, 가령 대기업 소유 플랫폼, 거대(레거시) 미디어, 다국적 자본과의 종속적이고 불공정한 관계로 인해 독자적 성장이 어려웠던 한계를 극복할 수 있는 역할로 주목받기도 한다. 한편, 우리 콘텐츠산업은 서울과 지역 간 격차가 심각한 상황이다. 수도권이 보유한 풍부한 자원을 갖지 못한 지역의 콘텐츠산업은 자체적인 생태계를 만들어내는 문제만으로도 버거운 상황이다. 정부와 지자체의 콘텐츠산업 육성 정책 방향이 서울과 수도권에 집중된 콘텐츠산업 자원을 파편적으로 지역에 끌어들이는 것이 아닌 기술과 투자가 성장을 견인하는 스타트업 혁신 생태계를 조성 및 활성화하는 방향으로 전략적 전환을 해야 하는 시점이 도래했다. 본 연구는 콘텐츠산업 생산자‧창작자가 스타트업을 통해 출발하고, 성장할 수 있는 정책 여건 및 현황을 살펴보고, 스타트업에 대한 투자-회수-재투자의 선순환 가치사슬이 지역 콘텐츠산업 현장에도 안착되어 유망한 콘텐츠 스타트업 창업이 활성화될 수 있는 지원정책의 제반 여건을 탐색하고 향후 방향성을 제시하고자 하였다. 본 연구의 2장에서 지역 콘텐츠산업의 육성 정책 변천과 지역별 현황을 살펴보고, 구체적 지역 사례로서 충청남도의 콘텐츠산업 현황을 살펴보았다. 3장에서는 중앙정부의 스타트업 육성 예산, 기반 인프라, 지원 사업, 금융지원 제도 등을 살펴보고, 지역 사례로서 충청남도의 스타트업 육성 여건 및 향후 기대되는 인프라 사업을 살펴보았다. 마지막으로, 본 연구 4장에서는 충청남도 콘텐츠 스타트업 대상 설문조사를 통해 실제 지역에 기반을 두고 있는 콘텐츠 스타트업이 창업을 시작하여 투자 유치 단계에 이르기까지 정부와 지역의 어떠한 지원을 필요로 하는지, 현 지원정책의 문제점과 앞으로의 바람직한 방향성은 무엇인지에 대한 단서를 얻고자 하였다. Recently, startups have been given a lot of attention globally. Products and services of startup companies have given us a completely different daily perspective. Its influence has risen to a state where it compromises traditional business models and jobs. Startups in the Contents Business have been spotlighted for breaking down the high entrance barrier of platforms owned by conglomerates, legacy media, and multinational fundings that had limitations and forced subordination to unfairness. Meanwhile, there is a significant gap in the level of Content Business between Seoul and the other provinces. Unlike the capital city’s rich fundings in Content Business, the other Korean provinces find it difficult to sustain themselves. It has come to a state where other provinces adapting and importing partial fragments of Content Business developments in Seoul is simply not enough. Strategic changes to make growth and implementation in skills and investments of innovative startup models are currently required. This study examines the policies and the current state of starting and developing a Content Business startup that focuses on production and creation. It then searches and looks into policies that help outstanding Content Creation startups to develop and potentially reach the cycle of Investment-Asset recovery-Reinvestment. The second section of this study looks into the upbringing policies and provincial statuses of Content Creation businesses, focusing on the Chungcheongnam-do Province. In the third section, the study deals with the central government’s budget, infrastructure, and financial support for fostering startups. It then looks deeper into Chungcheongnam-do Province’s case and its conditions for upbringing startups and its future infrastructure businesses. Lastly, the fourth section of this study contains surveys of Chungcheongnam-do Province’s Content Business startups. The survey looks into the governmental and provincial support needed to start a province-based Content Business startup and to reach the stage of getting investments and running its activities. It also looks into the problems of current government support policies and aims to find keys to providing a desirable directional change to them.

디지털 애니메이션 <소울>의 영상미학

이정이 동국대학교 영상대학원 2023 국내석사

With the development of animation production technology, the style of animation visual expression and animation aesthetics have changed over and over. Produced through computers, digital animation gives animators more freedom to express their ideas in virtual spaces and finally present them through images. However, the aesthetics of live-action films have been discussed for a long time. The visuals of animated films have rarely been discussed, but this discussion is necessary since the visual expression made in virtual space seems to be gradually integrated into various industries and become mainstream. Therefore, this thesis aims to present the visual aesthetics of digital animation <Soul>, which was produced by Pixar, the pioneer in the computer animation industry, and has a variety of audiences. In addition, this article intends to investigate how <Soul> utilizes visual images to convey its inner message. In order to analyze the visual effects of this work in detail, this article categorized the fields of visual aesthetics for effective visual communication, by combining the theory of the production of visual works proposed by Herbert Zettl and the theory of visual perception proposed by Rudolf Arnheim. The study decomposes the visual elements, except for sound elements, from the 1-dimensional field to the 4-dimensional field, which are light and color, a two-dimensional field (composition of camera and act of force), a three-dimensional field(depth and a three-dimensional effect), a four-dimensional field(time, movement, and editing) in detail. Furthermore, this study also focuses on the functions of Virtual Camera, which is the most important technology in the nowadays animated film. Based on the theory discussed above, this article presents the visual effects of <Soul> by analyzing its four dimensions, which are light and color, the composition of images, visualization of 3-dimensional space, movement, editing, which finally comes out the visual aesthetic characteristics of this digital animated film. Although digital animation techniques are designed to emphasize the reality of the animation world, it can be seen from <Soul> that animation works do not blindly emphasize reality, but maintain the different visual aesthetics of different works.