동시대 미술과 엔터테인먼트에 대한 이론적 고찰 -수퍼플렉스와 토마스 사라세노의 작업을 중심으로-

김보라 한국기초조형학회 2021 기초조형학연구 Vol.22 No.2

Since postmodernism, the distinction between high-end fine art and pop culture has become ambiguous, and the boundaries of economy, politics and culture are blurring amid the global wave of capitalism. Against this backdrop, the purpose of this study is to examine the relationship between contemporary art and entertainment which seems to dominate everyday life and culture. The paper consists of two main stages. First, etymological and ideological genealogy related to the concept of entertainment is reviewed and the entertainment elements found in specific artworks are analyzed. This leads to a conclusion that embraces entertainment and coordinates the balance of art and entertainment or the desirable intersection between the two. In particular, Richard Shusterman’s pioneering reflection on entertainment is a major reference. The paradoxical structure of entertainment that encompasses serious maintenance and playful amusement, attention and diversion can be found in the process of approaching the history of concept. Moreover, it provides an opportunity to overcome the traditional narrow view of entertainment. It is followed by the arguments of leading entertainment critics who disparaged entertainment in the history of Western thought, such as Collingwood, Adorno, and Heidegger. Their comments confirm the limitations and weaknesses of entertainment. On the contrary, a review of claims of thinkers who defended entertainment reveals the aesthetic potential of entertainment. Based on this theoretical consideration, this paper analyzes the entertainment elements shown in Superflex’s ‘One Two Three Swing!’, Tomás Saraceno’s ‘In Orbit’ and ‘Arachnomancy.’ Through the analysis of these works, I emphasize the importance of paradoxical and productive dialectical structure of entertainment that Shusterman has mentioned. 포스트모더니즘 이후 고급예술과 대중문화의 구분은 모호해졌으며 전 지구적 자본주의의 물결 속에서경제, 정치, 문화의 경계가 흐려지고 있다. 이러한 배경에서 본 연구의 목적은 일상과 문화를 지배하고있는 것처럼 보이는 엔터테인먼트와 동시대 미술의 관계를 고찰하는 것이다. 논문은 크게 두 단계로구성되어, 엔터테인먼트 개념과 관련된 어원적, 사상적 계보에 대해 검토한 후 구체적 미술 실천 사례를 통해 엔터테인먼트적 요소를 분석한다. 이로써 엔터테인먼트를 포용하고, 진지한 미술과 엔터테인먼트의 균형과 양자의 바람직한 조우를 모색하는 결론에 이른다. 이를 위해 엔터테인먼트에 대한 선구적 성찰을 제시했던 철학자 리처드 슈스터만의 논의를 참고하고자 한다. 개념사적으로 엔터테인먼트에 접근하는 과정에서는 진지한 대접과 유희적 오락, 주의집중과 기분전환이라는 엔터테인먼트의 역설적 구조를 발견하고, 엔터테인먼트에 대한 기존의 편협한 시각을 극복할 계기를 찾을 수 있다. 다음으로 서양 사상의 역사 속에서 대표적 엔터테인먼트 비판자, 특히 콜링우드, 아도르노, 하이데거 등 엔터테인먼트를 부정적으로 보았던 철학자에 대해 살펴본다. 이로써 엔터테인먼트의 한계점과 약점을 확인할 수 있다. 동시에 엔터테인먼트를 옹호한 사상가들의 입장을 조명함으로써 엔터테인먼트의 미학적 잠재력과 가능성을 타진한다. 이러한 이론적 고찰을 바탕으로 구체적 예술작품에 접근하여, 수퍼플렉스의<One Two Three Swing>, 토마스 사라세노의 설치 <In Orbit>와 카드 작업 <Arachnomancy>에 나타난 엔터테인먼트적 요소를 분석한다. 이 과정을 통해 슈스터만이 말한 엔터테인먼트의 역설적, 생산적인 변증법적 구조의 중요성을 확인할 수 있다.

사이버엔터테인먼트의 국제적 문제

박진아(Jina Park) 한국국제사법학회 2008 國際私法硏究 Vol.- No.14

세컨드 라이프에서와 같은 가상체험을 “누구나 언제 어디서나” 할 수있는 엔터테인먼트가 등장하는 한편, 엔터테인먼트를 디지털 형태로 제작, 저장, 가공 및 전송할 수 있는 사이버엔터테인먼트 시장이 계속 커지고 국제화되어 가면서 많은 법적 문제를 야기하고 있다. 그러나 이러한 새로운 사회현상으로서의 사이버세계 엔터테인먼트는 현실세계의 엔터테인먼트와는 많이 차이가 나기 때문에 현실세계 엔터테인먼트에 대한 법적 잣대를 동일하게 적용할 수는 없다. 따라서 사이버엔터테인먼트에 대한 적절한 법적 검토가 필요하게 된다. 특히 이러한 법적 문제 중 국경이 없는 공간상에서 일어난다는 특징에 기인한 것이 주로 되는바 이를 중심으로 한 검토가 필요하다고 할 것이다. 이러한 무국경성이 가져오는 법적 문제로는 사이버엔터테인먼트의 국제사법적 문제, 외국인의 사이버엔터테인먼트에 대한 저작권적 보호, IPTV, 국제조세문제 등이 있다. 이에 본고에서는 먼저 사이버엔터테인먼트의 법적 문제 일반을 정리한 후(Ⅱ) 사이버엔터테인먼트의 국제적 문제로서 먼저 국제사법적 문제를 살펴본다(Ⅲ). 국제사법적 문제의 검토에 있어서는 사이버엔터테인먼트분쟁을 크게 국제재판관할과 준거법합의가 있는 경우와 없는 경우로 나누고, 각 경우를 다시 (ⅰ) 서비스 제공자와 수용자 사이의 분쟁과 (ⅱ) 수용자간의 분쟁으로 나누어 국제재판관할과 준거법문제를 살펴보고, ADR에 의한 분쟁해결, 새로운 제안의 순으로 살펴보기로 한다. 기타 국제적 문제로서 외국인의 사이버엔터테인먼트에 대한 저작권적 보호, IPTV의 국제적 문제, 사이버엔터테인먼트에 대한 과세문제를 중심으로 검토하기로 한다(Ⅳ). Virtual life entertainment like Second Life has increased and casts enormous impacts on our society. Cyber entertainment has certain characteristics which are much different from the traditional entertainment. Since there is no border in cyberspace, cyber entertainment service can be provided transnationally. Due to these characteristics of cyber entertainment, the legal principles developed for traditional entertainment are not adequate for cyber entertainment. Especially in international problems, it is true so further more. In regard to international legal problems of cyber entertainment, the author will examine the traditional legal principle and how they can be modified, if not totally replaced by the new legal principles. Firstly this paper will review the issues of International private law problem. Cyber entertainment disputes are divided between a case having a mutual agreement regarding international jurisdiction and choice of law and a case not having mutual agreement. Disputes of each case are divided again into (ⅰ) disputes between OSP and user and (ⅱ) disputes between users. The author will deal with problems of international jurisdiction and choice of law on those cases. This paper will further discuss alternative proposals such as dispute resolution by ADR and new proposal. Additionally the author will deal with the other residual international legal issues such as copyright protection to foreigner’s cyber entertainment, IPTV and international taxation of cyber entertainment.

한국의 엔터테인먼트산업과 중재의 현황과 과제 -한국의 연예매니지먼트 사업을 중심으로-

안건형 ( Keon Hyung Ahn ) 중앙대학교 법학연구원 문화.미디어.엔터테인먼트법연구소 2010 문화.미디어.엔터테인먼트 법 Vol.4 No.1

This study examines the entertainment industry, especially, among others, entertainment management business which involves most complicated interests among concerned players in Korea. Entertainment management business in Korea has a couple of unique features when compared with other countries. First, entertainment management companies carry out function of management along with agency together, whereas these two different functions are separated in developed countries in the field of entertainment business, like in USA. Second, entertainment management companies tend to get involved in producing movies, TV programs and music albums as well as management and agency business of entertainers. Third, it is common to giv to entertainers an advance payment for exclusive management contract by a pertinent management company. Lastly, entertainment management business has a characteristic similar to that of venture industry which has incubating role and has high-risk high-return feature. For these unique reasons in Korea, disputes arise very frequently between entertainers and management companies. In the meantime, Korea Fair Trade Commission (KFTC), one of the Government agencies, has published a standard model form of Exclusive Contract for Entertainment Management (hereinafter referred to as "Exclusive Contract") on 6 July 2009, to eliminate some types of unfairness that placed entertainers at disadvantage such as forced PR activities or activities without payment, excessive privacy infringement and exemption of payment after the termination of the exclusive contract. In the dispute resolution clause of the said model form, parties can choose either litigation or arbitration. As far as disputes related to exclusive contract for entertainment management are concerned, it is desirable to resolve disputes by arbitration than litigation. Privacy and speediness of dispute resolution are most important factors when celebrities are involved. Public image is directly linked to celebrities` reputation and commercial opportunity, and furthermore, to their income. Therefore, it is very timely to examine the entertainment management business in Korea and arbitration appropriateness with Exclusive Contract of Entertainment Management on this paper.

엔터테인먼트 산업에서의 협쟁(co-opetition)의 동기: 에스엠 엔터테인먼트 사례를 중심으로

장수덕 한국기업경영학회 2016 기업경영연구 Vol.23 No.2

The traditional view of inter-firm dynamics discusses that business relationships are either competitive or cooperative in nature. In reality, however, every relationship includes competitive as well as cooperative elements. No matter how competitive inter-firm dynamics are, there are also cooperative and trust factors affecting the relationship. Thus it is difficult to see competition and cooperation as independent but interacting concept of a relationship. The business strategy called co-opetition(hereafter coopetition) means that a firm cooperates with rivals, while at the same time it competes with these partners. The main reasons that are mentioned as a motivation for co-opetition are “shrinking product life cycles, need for heavy investments in research and development, convergence of multiple technologies, and importance of technological standards” (Gnyawali & Park, 2011 p. 650). According to previous studies, the most common motives for firms to engage in coopetition are to develop new markets, to enforce competitive advantages or industry standards, to share the costs of research and development, and to improve the profit of firms in participating the relationship. Since the entertainment industries are the result of the union of several sectors (ranging from music, movie, drama, ICT, to publishing and broadcasting), they naturally involve many participants in value chains which were once independent. Not only the entertainment industries are typically dominated by uncertainty, but also the traditional media and entertainment value chain has been transformed dramatically. These are exactly the same issues that the entertainment and media industries face. Generally, it is known that coopetition emerges from the increasing uncertainty and interdependence between firms in complex industries. Nevertheless, coopetition between firms of entertainment industry has been discussed rarely in academic sectors. Therefore, this study looks into existing research and findings on coopetition strategy, which could be of use for the entertainment and media industries through a case study of SM Entertainment. This study observed four different motives of coopetition in the entertainment industry based on the case study of SM. First, it was found that SM uses a coopetition strategy to supplement any lacking experience and to minimize the risks of failure in developing the foreign markets. Coopetition strategy was a powerful means of developing new market opportunities and complementing the lack of experience in foreign markets. Second, SM promotes coopetition with competitors to maximize the efficiency of resource use in their development of differentiated contents. Thus, cooperation with competitors was able to offer the advantage of a combination of the need to develop new contents as a result of competition while accessing new resources as a consequence of cooperation. Third, SM expands their business to various areas to maximally utilize their contents and upon this, they promote cooperation with even potential competitors in various areas to diversify their profitability. Fourth, SM cooperates with competitors as a strategy to secure and supplement their existing contents to strengthen and expand their dominance in existing markets. This study presents implications that such cooperation between competitors in various areas in the entertainment business ultimately greatly contributes to value creating and to expanding the domestic entertainment industry. These implications mean that the coopetition strategy is able to apply this model to the business and management practice of entertainment industry. 협쟁은 기업이 경쟁자들과 상호간에 이익을 얻기 위해 협력을 하면서 동시에 이들과 경쟁하는 그러한 사업전략을 말한다. 기존의 연구들에 의하면, 기업들이 협쟁을 추진하는 핵심적 동기는 제품의 수명주기가 짧아지고, 연구개발을 위해 많은 투자를 해야 하며, 기술의 융합과 표준의 중요성이 확대되고 있기 때문으로 논의된다. 엔터테인먼트 산업은 전형적으로 불확실성이 지배하며, 전통적인 가치사슬이 급격히 붕괴되고 있는 특징을 갖고 있다. 이에 본 연구는 협쟁전략에 대한 기존 연구들의 결과가 엔터테인먼트 산업에도 적용이 될 것으로 보고 사례연구를 통해 그 가능성에 대해 살펴보고자 했다. 에스엠 엔터테인먼트에 대한 사례연구를 토대로 본 연구는 엔터테인먼트 산업에 있어서 협쟁의 동기를 크게 네 가지로 살펴보았다. 첫째, 에스엠은 해외시장을 개척함에 있어 부족한 경험을 보완하고 실패의 위험을 최소화하기 위해 협쟁전략을 사용하는 것으로 나타났다. 둘째, 에스엠은 차별화된 콘텐츠를 개발함에 있어 자원사용의 효율성을 극대화하기 위한 차원에서 경쟁사들과의 협쟁도 추진하는 것으로 나타났다. 셋째, 에스엠은 자사의 콘텐츠를 최대한 활용하기 위해 다양한 분야로의 사업을 확대하고 이를 토대로 수익성을 다변화하기 위해 다양한 영역의 잠재적 경쟁자들과도 협력을 추진하는 것으로 나타났다. 넷째, 에스엠은 기존의 콘텐츠를 확보하고 보완하여 시장에서의 지배력을 강화하거나 확대하기 위한 전략으로 경쟁자들과도 협력하는 것으로 나타났다. 엔터테인먼트 산업에 있어서 다양한 영역에 있는 이러한 경쟁자들 간의 협력은 결과적으로 국내 엔터테인먼트 산업의 저변을 확대하고 부가가치를 창출하는데 더 크게 기여한 면이 있음을 본 연구는 시사점으로 제시하고 있다.

세금으로 본 흥행시장의 동태론

이승희 동국대학교 한국문학연구소 2011 한국문학연구 Vol.0 No.41

The disproportionate dynamics between State-power and entertainment -market was too obvious in colonial period. The formation of entertainment-market was proceeded with colony management by the Empire of Japan simultaneously, and the political-economic value of the entertainment was decided to need of the policy. Considering the entertainment is institutionalized in two forms of State and market, the kernel of a question is how the policy found a market. In that sense, the tax policy of Chosun Government-General was needed to examine because it reveals the directivity of colony management very clearly. So it will show the status of colony-Chosun's entertainment-market plainly. This discussion arrived at a comparatively simple conclusion. Indeed, the tax policy of Chosun Government-General had no almost a direct influence on entertainment-market. The first cause is that colony- Chosun's entertainment-market had no a economical value enough to intervene the authorities actively. But this was the result that Chosun Government-General's policy direction focused on consumption of foreign imports from the start, not to improve colony's cultural productivity. In summary, Chosun Government-General intervened to a minimum in entertainment-market, but it delegated the management of entertainment-market to promoters so both sides tuned the size and status of its market. We need to accept this meaningly. That more than 90% were Japanese were caused that entertainment-market had a heteronomy. The censorship charge cut movement was worthy of special mention, however promoters only were eager to keep their economical profit exclusively maintaining partnership with State. So the tax system focused on entertainment tax, a favor of theatre business, and a series of process moving to admission―these were the process that colonization -power gave preference to Japanese or their theatrical capitalists, ultimately collected its economical effect to State being reorganized on a war footing. The usefulness of bearing the cost of war―this is the essence of admission tax, and here was the place colony-Chosun's entertainment-market had to arrive. 식민지시대 국가권력과 흥행시장의 불균형한 역학관계는 뚜렷했다. 흥행시장의 구축이 바로 일본제국의 식민지경영과 동시적으로 진행되었고, 그 정책적 필요에 따라 흥행의 정치적·경제적 가치는 결정되었다. 흥행이 결국 국가와 시장이라는 두 가지의 형식 안에서 제도화되는 것이라면, 문제의 핵심은 국가가 선편을 쥐고 진행된 정책이 어떻게 시장을 주조해냈는가에 있다. 그런 점에서 조선총독부의 조세정책은 식민지경영의 방향성을 가장 투명하게 드러내주는 동시에 흥행시장의 위상이 단적으로 드러나는 지점이라는 점에서 검토될 필요가 있다. 논의의 결론은 비교적 단순한 지점에 도달했다. 조선총독부의 조세정책이 흥행시장에 직접적으로 미치는 영향력은 별로 크지 않았다는 사실이다. 일차적으로는 식민지조선의 흥행시장이 적극적인 정책적 개입을 할 만큼 경제적 가치를 갖고 있지 못했기 때문이지만, 이는 조선총독부의 정책방향이 애초부터 문화적 생산성의 제고보다는 이수입물의 소비에 맞춰져 있었던 결과였다. 따라서 조선총독부는 최소한의 개입을 하되, 그 테두리 내에서 시장의 경영을 흥행업자들에게 위임하여 흥행시장의 규모와 위상을 조율해나갔다고 말할 수 있다. 이를 의미심장하게 받아들일 필요가 있다. 그 주도세력의 9할 이상이 일본인이라는 사실은 흥행시장의 비자립적인 타율성을 노정하도록 만든 요인이 되었기 때문이다. 검열수수료 인하운동은 매우 특기할 만한 사건이었으나, 흥행업자들은 국가와 파트너십을 유지하면서 자신들의 경제적 이익을 배타적으로 점유하기에 애를 썼을 뿐이다. 그리하여 흥행세 중심의 세제와 극장업에 대한 특혜, 그리고 입장세로 무게중심을 옮겨가는 일련의 과정은, 재조선일본인과 일본내지의 흥행자본에 특혜를 부여하면서 궁극적으로는 그 경제적 효과를 전시체제에 돌입한 국가에로 회수하는 과정이었다. 전비를 충당하는 재원의 유용성, 그것이 입장세의 본질이었으며, 여기가 바로 식민지조선의 흥행시장이 도달해야 했던 곳이었다.

사이버엔터테인먼트의 법적 문제

손경한,박진아 한국지식재산학회 2008 産業財産權 Vol.- No.26

in recent years, entertainment industry has grown up sharply, which significantly affects our daily life. it was expedited by the rapid growth of cyber entertainment. Cyber entertainment means entertainment in cyberspace provided by online media, i.e. mp3, VOD, and online computer games. iPTV and internet mobile phone are expected to replace the traditional entertainment media such as TV, CD, DVD, and to evolve continuously. Virtual life entertainment like Second Life leads us to a new world. Cyber entertainment has certain characteristics which are much different from the traditional entertainment. The Recipients of cyber entertainment service may enjoy it personally without going out to public places like a movie theater or playground. They can participate in production, modification, and development of the contents of the cyber entertainment through UCC, computer games, Second Life, and even replies. The Recipients can easily shift the time and place of the cyber entertainment and enjoy the contents as many times as they wish. They have a plenty of choices in media to access contents of cyber entertainments. Since there is no border in cyberspace, cyber entertainment service can be provided transnationally. Cyber entertainment presents almost real and pleasant experience to the Recipients, who are in many instances devoted thereto, if not addicted. The contents of cyber entertainment are more than occasionally obscene, violent, or gambling-oriented. Minors are exposed to search undesirable indecency. Cyber entertainment service using computer network is vulnerable to leakage of personal information. The contents of cyber entertainment, from time to time, contain the materials that infringe copyright. Due to the above characteristics of cyber entertainment, the legal principles developed for traditional entertainment are not adequate for cyber entertainment. The authors will examine the traditional legal principle and how they can be modified, if not totally replaced by the new legal principles. This paper will review the issues of ownership in virtual property such as UCC, avatar, and those created in Second Life. The role of Online Service Providers (OSPs) is critical in cyber entertainment. OSPs create and control cyber world. So to speak, it is a patriarchy in cyberspace. The authors argue that this OSPs’ role of paternity should be well-recognized and refined. They create the systems and establish the rule of cyberspace. The OSPs are required to take more responsibility in protecting their customers and preventing them from illegalities. They should take measures against obscenity, violence, defamation, and infringement of prⅳacy or intellectual property. This paper will further discuss rights and obligation of the parties to cyber entertainment, mainly the OSPs and the Recipients. Due to the increasing importance of cyber entertainment to the indⅳidual Recipient, his interests and rights should be well respected and secured. The terms and conditions of the service must be fair and equitable for both parties. The authors will deal with other residual legal issues in cyber entertainment that has cast enormous impacts on our society already.

엔터테인먼트분쟁 해결을 위한 중재제도의 활성화 방안

김상찬(Sang-Chan Kim) 한국중재학회 2013 중재연구 Vol.23 No.1

The entertainment industry has developed along with current Korean wave fever, and so entertainment-related disputes are increasing rapidly. Litigation is a poor fit for entertainment disputes because of characteristics such as temporal sensitivity. Thus, in the US, the entertainment industry resolves these disputes through ADR mechanisms like arbitration, but cases of settling such disputes through arbitrations are very rare in Korea. This study examined the characteristics and types of entertainment disputes and considered the compatibility of arbitration as a method for settling disputes, and then suggested tasks for revitalizing arbitration systems as entertainment dispute resolution procedures. Arbitrations have many merits, such as the rapid pace of procedures, confidentiality, satisfying the long-term desires of business relationships, the low cost of settling disputes, judgments rendered by experts, etc.; thus, it is a very suitable mechanism to settle entertainment-related disputes. The study proposes necessary steps for revitalizing arbitration systems for entertainment disputes. First, awareness of entertainment industry workers about the arbitration system should be raised. Second, special educational programs for members the of Korean Commercial Arbitration Board related to entertainment should be set up and operated together with encouraging positive attitudes toward actions like establishing a dedicated arbitration unit on entertainment disputes. Third, neutral, professional arbitrators should be secured and aggressive disclosures made. Fourth, a professional ADR organization such as an Entertainment Arbitration Committee should be established.

엔터테인먼트 산업에서의 대체불가토큰(NFT) 활용과 법적 고려사항

임병화,고영미 고려대학교 법학연구원 2022 고려법학 Vol.- No.106

This study analyzes the entertainment-related NFT market structure and NFT use cases, and examines legal considerations related to entertainment NFT. Interest in NFT in the entertainment industry is increasing, and the method or scope of using NFT varies depending on the characteristics of each field. Nevertheless, there are still insufficient studies analyzing NFT issuance cases and legal considerations within the entertainment industry. Han Jung-hoon(2022) analyzed NFT trends in the entertainment sector by introducing NFT use cases in the media and film fields, and Hu(2021) and Behal(2022) analyzed new ways to participate in the music market using NFT. In addition, Kim Min-jung and Park Jae- woo(2021) suggested a plan to use NFT in the animation field. However, there are no studies yet comparing and analyzing NFT utilization plans by field of entertainment industry such as music, movies, and games. Although the analysis of NFT use cases and trends in each field of the entertainment industry has important significance, there is a limit to understanding the innovative changes in the entertainment industry using NFT. In this study, including this BAYC model, a wide understanding of entertainment NFT was possible by analyzing NFT use cases in each entertainment industry such as music, film and broadcasting, games, and metaverse. In addition, domestic companies' participation in the entertainment NFT market was introduced, and related legal considerations were presented. The existing regulatory and legal environment is not designed in consideration of digital assets, including NFT. Nevertheless, investors, financial services and fintech firms, and other commercial stakeholders need to explore the possibilities of performing various digital industries in such an environment, eventually overcoming and resolving some key legal and regulatory issues. In other words, in the case of various innovative projects, it can be seen that they face commercial and legal problems that may eventually require compromise, even if they can run their business avoiding the regulatory network for NFT until a certain size and point. In the following, among the key legal issues that stakeholders in the NFT-based entertainment industry may face, major issues related to each country's regulatory status, financial laws, and intellectual property laws are examined. 본 연구는 엔터테인먼트 관련 NFT 시장 구조 및 NFT 활용사례를 분석하고, 엔터테인먼트 NFT 관련 법적 고려사항을 살펴본다. 엔터테인먼트 산업 내 NFT 관심이 증대되고 있고 분야별 특성에 따라 NFT 활용 방법이나 범위가 다르다. 언론과 영화, 에니메이션, 그리고 음악 시장 등 특정 엔터테인먼트 산업이 아닌 음악, 영화, 게임 등 엔터테인먼트 산업 분야별 NFT 활용사례와 활용방안을 비교·분석한 연구는 아직 없으며, 엔터테인먼트 산업 내에 NFT 발행 사례와 법적 고려사항을 함께 분석한 연구도 없는 상황이다. 본 연구에서는 음악, 영화 및 방송, 게임, 메타버스 등 각 엔터테인먼트 산업 분야별 NFT 활용사례를 분석함으로써 엔터테인먼트 NFT에 대한 폭넓은 이해가 가능케 하였다. 특히 ‘지루한 원숭이의 요트클럽(BAYC)’ NFT 모델 분석을 통해 NFT를 활용한 새로운 형태의 엔터테인먼트 산업을 소개하고 향후 엔터테인먼트 산업의 발전 방향을 전망해 본다. 또한, 국내 기업들의 엔터테인먼트 NFT 시장 참여 사례를 소개하고, 관련 법적 고려사항을 제시하였다. 기존의 규제 및 법적 환경은 NFT를 포함한 디지털 자산을 고려하여 설계된 것이 아니다. 그럼에도 불구하고 투자자, 금융 서비스 및 핀테크 기업, 기타 상업적 이해관계자들은 그러한 환경 속에서 다양한 디지털 산업을 수행 가능성을 탐색하며, 그 과정에서 결국에는 몇 가지 핵심적인 법·규제 문제를 극복하고 해결할 필요가 있다. 즉, 여러 혁신사업의 경우 일정 규모와 시점까지는 NFT에 대한 규제망을 피하여 사업을 영위할 수 있을지라도, 결국은 타협이 필요할 수 있는 상업적 및 법적 문제들을 마주하는 것을 볼 수 있다. 특히 NFT 기반 엔터테인먼트 산업의 이해관계자들이 직면할 수 있는 핵심적인 법적 문제 중에서, 각국의 규제현황, 금융법, 그리고 지식재산권법 등과 관련한 주요 쟁점들을 살펴본다.

컴퓨터 기반 정서 분석을 활용한 정치엔터테인먼트의 정서적 소비와 정치 참여의 관계 연구

유경한(You, Kyunghan) 한국문화융합학회 2020 문화와 융합 Vol.42 No.7

이 연구는 정보와 오락이 결합된 독특한 크로스오버 장르인 정치엔터테인먼트의 특징에 주목하여, 정치엔터테인먼트의 수용과정에서 발생하는 정서적 관여가 이들의 정치적 참여에 미치는 영향을 실증 분석하는 것이 목적이다. 특히 이 연구는 기존 연구들이 엔터테인먼트 프로그램의 정서적 메커니즘을 분석하는 데 한계가 있었다는 점에 주목하고, 미디어 수용자의 정서적 관여가 정치적 참여에 미치는 영향을 효과적으로 분석하기 위해 분석 개념으로 상대적 정치엔터테인먼트 선호도(RPP) 지표를 활용하였고, 분석기법으로는 컴퓨터 기반 감정 분석과 수용자 설문조사를 결합하였다. 주요 분석결과는 다음과 같다. 첫째, 정치엔터테인먼트에 출현된 정서를 비교한 결과, <썰전>에서는 긍정적 정서의 비율이 상대적으로 높은 데 비해, <강적들>에서는 부정적 정서의 비율이 상대적으로 높게 나타났다. 둘째, 출현된 정서는 유형과 강도(intensity)에 따라 정치지식의 습득과 태도, 정치냉소와 정치참여의 증진에 차별적인 영향을 미쳤다. 즉, 특정 후보자의 출현 정서가 정치지식을 증가하는 데 영향을 미치는 것으로 조사되었고, 정치효능감은 정서 유형에 따라 증진과 감소가 각기 다르게 관찰되었다. 셋째, 정치참여에 영향을 미치는 요인들로 기존 연구에서 주목했던 미디어 이용은 영향력이 미미한 것으로 조사되었고, 정치엔터테인먼트와 상대적 정치엔터테인먼트 선호도(RPP)가 강력한 영향을 미치는 요인으로 관찰되었다. 이러한 결과는 19대 대선의 상황적 특수성이 고려되어야 하지만, 선거의 참여나 학습, 태도의 형성에 미디어 이용 자체 미치는 영향을 과거에 비해 제한적임을 시사한다. 넷째, 정치엔터테인먼트 프로그램의 정서가 수용자의 정서적 반응을 유도함으로써 수용자의 정치적 관여에 영향을 미치지만, 이러한 정서적 전이는 수용자의 엔터테인먼트 성향에 따라 차별적인 효과를 보였으며, 정서의 유형과 강도에 따라 그 효과의 방향과 정도가 다양하게 관찰되었다. The present study aims to empirically analyze the impact of emotional involvement in the acceptance of political entertainment on users’ political participation, with a focus on the characteristics of political entertainment that is a unique crossover genre that combines information and entertainment. The study emphasizes that previous research had some limitations in analyzing the emotional mechanisms of entertainment programs; uses relative political entertainment preference (RPP) as an analytical indicator to effectively analyze the impact of media inmates emotional involvement on political participation; and combines computer-based emotional analysis with audience surveys. The main analysis results are as follows. First, comparing the emotions that appeared in political entertainment revealed that the ratio of positive emotions in “Sseoljeon” is relatively high, while the ratio of negative emotions in “Gangjeokdeul” is relatively high. Second, the emerging sentiment had differential effects on improving political attitude and political learning, decreasing political cynicism, and promoting political participation, depending on the types and intensities of emotions. Third, media use, which was regarded as a factor affecting political participation in previous research, was found to have little influence, and political entertainment and relative political entertainment preference (RPP) were observed to have a strong influence. These results suggest that the impact of media use on political participation, learning, and attitudes is limited compared to the past. Fourth, the results demonstrate that political entertainment programs influence the political involvement of inmates by inducing an emotional response. However, these emotional responses varied by the direction and the extent of the effects, depending on the users’ preferences on political entertainment.

도심형 엔터테인먼트공간이 외식 소비자의 기대 서비스 및 행동의도에 미치는 영향

김건휘,하헌수 (사)한국관광레저학회 2019 관광레저연구 Vol.31 No.6

This study was conducted for customers who found urban entertainment. The results of this study are as follows. First, we analyzed the effect of urban entertainment on customer expectation service level and consumer behavior intention by dividing urban entertainment into four sub - variables such as geographical location, culture and experience, leisure, relaxation and entertainment. A total of 255 valid questionnaires were used as the final analysis, except for the 14 questionnaires which were responded unfairly. The results of this study are as follows. First, the influence of the urban entertainment space on the technical quality was found to have a positive effect on expected service, which are the sub - variables (geographical location, culture and experience, leisure and rest, entertainment). And the effect of urban entertainment space on functional quality is positively affected by three variables of sub - variables (culture and experience, leisure and rest, entertainment). Second, the effect of urban entertainment space on revisit intention positively affects the service expectation (geographical location, culture and experience, entertainment). And effects of urban entertainment space on recommendation intention positively affects the service expectation (geographical location, culture and experience, leisure and rest, entertainment).