EXAMINING THE ANTECEDENT AND CONSEQUENCES OF CONSUMER ENGAGEMENT WITH VISUAL BRANDED CONTENT ON PINTEREST

Jhih-Syuan (Elaine) Lin,Kuan-Ju Chen 글로벌지식마케팅경영학회 2018 Global Marketing Conference Vol.2018 No.07

Introduction The social Web is becoming more and more visual. While Facebook remains the leading social networking site (SNS), visual-based platforms such as Instagram and Pinterest have showed a significant increase in the proportion of online users worldwide (Greenwood, Perrin, & Duggan, 2016; Statista, 2017; Pew Research Center, 2017). The trend toward visual communication on SNSs is influenced by the emergence of advanced mobile technologies and the shifting habits of how social media users consume content today. While images displayed on Instagram are past-oriented sharing of memories, or present-oriented displays of creativity, Pinterest presents opportunities for future-oriented inspiration to evolve (Jin, Lin, Gilbreath, & Lee, 2017; Phillips, Miller, & McQuarrie, 2014). Pinterest also serves as a searchable archive of visual content, allowing users to seek and include brand-relevant pins and boards into their own aspirations and inspirations, thus facilitating the sharing of branded content (Phillips et al., 2014). Extant industry reports also suggest that Pinterest users are more likely to image-search for products, interact with sponsored pins, and show favorable attitudes toward advertising, compared with Facebook or Twitter users (McMullen, 2015; Ruscillo, 2017; Williamson, 2015). Considering the benefits of social media for global marketing and the role that imagery plays for developing international brands (Mikhailitchenko, Javalgi, Mikhailitchenko, & Laroche, 2009), this research focuses on the visual aspects of consumer engagement with branded content on Pinterest and investigates how such engagement leads to consumer-brand relationship building and Pinterest-inspired purchase intention. Theoretical Frameworks The extant consumer research has documented the superiority effect of visual content on facilitating persuasion (Childers & Houston, 1984; Miniard, Bhatla, Lord, Dickson, & Rao, 1991). Recent research on social media marketing also suggests that branded content with visual elements help generate favorable consumer responses (De Vries, Gensler, & Leeflang, 2012; Trefzger, Baccarella, & Voigt, 2016). The presentation of branded posts is directly related to the flow construct and trust (Bart, Shankar, Sultan, & Urban, 2005; Hoffman & Novak, 1996). Along this logic, consumer engagement, the degree to which consumers consume, contribute, and create social media content in relation to brands (Schivinski, Christodoulides, & Dabrowski, 2016), is likely to be influenced by brand-related visual cues on Pinterest. While consumption refers to consumers’ acquisition of both brand-created and user-generated content (Muntinga, Moorman, & Smit, 2011), contribution refers to consumers’ inputs to content created by brands or by other consumers (Shao, 2009). Further, creation is the highest level of engagement, which refers to consumers’ generation of brand-related content that could stimulate further consumption and contribution (Muntinga et al., 2011). Therefore, the visually dominant and appealing presentation style, such as appearance, layout, and images, on Pinterest would provide users with high information content, and is likely to increase both active and passive consumer engagement with brands (Bart et al., 2005). Consumer engagement is then expected to encourage social media users’ willingness to actively promote and endorse brand-related content, including organic and sponsored pins. Such volunteer display of their preferred brand-related content is likely to help engender eWOM communication and make such content become more influential in the social Web (Chu & Kim, 2011). As a result, users’ brand-related Pinterest activities are likely to enhance their relationships with brands (Rapp, Beitelspacher, Grewal, & Hughes, 2013) and their intention to purchase from the brands featured in the pins and boards (King, Racherla, & Bush, 2014). All hypothesized relationships are therefore formulated and displayed in Figure 1. Methods To test the proposed conceptual model, an online survey was conducted with participants recruited from a consumer panel administrated by Qualtrics. A total of 467 Pinterest users (58.2% female, Mage = 28.9, SDage = 5.6) comprised the sample, including Caucasian (76%), African American (7.5%), Hispanic (7.4%), Asian (6.9%), multiracial (1.3%), and others (.9%). The participants spent an average of 9.5 hours on Pinterest per week. Smartphones (54.8%) emerged as the most dominant devices for their Pinterest usage, followed by computers (34.9%) and tablets (10.3%). They had an average of 33.7 boards (Range = 1,233), 1,384.1 Pins (Range = 69,000), 930.1 likes (Range = 100,000), 319.0 followers (Range = 44,231), 65.0 following topics (Range = 3,442), 173.0 following people (including brands, Range = 7,000), and 102.0 following boards (Range = 6,000). To note, 78.3% of the participants reported that they made Pinterest-inspired purchases frequently (including 24.8% always, 24.4% usually, and 29.1% often). In addition, the participants were asked to answer questions pertaining to their perceptions of visual cues related to a self-selected brand on Pinterest, engagement with brand-related content, brand endorsing behavior, consumer-brand relationships, and Pinterest-inspired purchase intention (see Table 1). Results To test the proposed hypotheses, a two-step modeling approach following Anderson and Gerbing’s (1988) procedures was employed. The results of confirmatory factor analysis (CFA) showed that the measurement model achieved acceptable fit for the data (χ2 = 1178.30, df = 393, χ2/df = 2.99, RMSEA = .065, SRMR = .054, CFI = .930, TLI = .922). The constructs had good composite reliability (>.70). Factor loadings of the construct indicators were all above .70 with significant t values, which indicated good convergent validity for each of the construct items (Nunnally & Bernstein, 1994). Following Fornell and Larcker’s (1981) criteria, the results achieved satisfactory discriminant validity because the average variance extracted (AVE) for each factor was above .50 and greater than the squared correlations between each pair of constructs. The factor scores were then used to perform a path analysis for hypothesis testing which showed satisfactory fit of the conceptual model (see Figure 2). The results indicated that visual cues positively influenced consumer engagement with brand-related content (β = .68, p < .001), which positively led to brand endorsing behavior (β = .86, p < .001). Consequently, brand endorsing behavior positively enhanced the development of consumer-brand relationships (β = .97, p < .001) and increased Pinterest-inspired purchase intention (β = .48, p < .001). In turn, all hypotheses were supported. Discussion and Conclusion In response to the thriving academic interests in understanding how social media users connect and interact with international brands across SNSs (Hennig-Thurau, et al., 2010), this research sheds light on factors that determine social media users’ active discovery, creation, and distribution of visual branded content and the effects of consumer engagement on social media marketing outcomes. By focusing on Pinterest, the research findings showed that users, both men and women, actively seek inspiration from Pinterest across brand-relevant categories. They are highly engaged, open to brand activities, and ready to take Pinterest-inspired actions in the real world. The visual presentation of branded content plays an important role in generating consumer engagement, which is likely to act as a form of perceived relationship investment and subsequently stimulates brand endorsing and advocacy behavior (Simon & Tossan, 2018). Engaged Pinterest users search and select brand-relevant visual content, including sponsored pins, as part of their self-presentation to others (Phillips et al., 2014). Through such interactions with brands and other like-minded users on the platform, their relationships with brands and purchasing behavior are likely to be further enhanced. This research integrates several important literature streams in the conceptual model and employs a representative adult sample to provide theory-driven and generalizable insights into how visually-focused social media marketing works. Marketing managers face opportunities and challenges that social media and the interconnected international business environment present. Therefore, it is crucial to understand how social media users interact with brands on different platforms in order to tailoring brand strategies accordingly for fostering consumer engagement. Specifically, as Pinterest’s popular visual discovery engine continues to attract myriads of global users, managers should harness the power of visual content marketing and engage current as well as potential consumers on the platform, which could have a significant impact on consumer-brand relationship building and business performance in domestic and foreign markets. Building on the findings of this research, future studies should further delve into the psychological underpinnings and motivations that drive consumer engagement with visual branded content on SNSs across cultures and discover how paid, owned and earned brand communication on visual-based SNSs can help strengthen consumer-brand relationships.

시각문화연구의 흐름과 시각문화콘텐츠의 경향에 대한 연구

김승재(Kim Seung-jae) 한국문화산업학회 2010 문화산업연구 Vol.10 No.3

This study focuses on the inclusion of visual culture and visual culture contents particularly from the standpoint of visual cultural theories discussed during the 1990's. Research into the visual cultural elements will give direction to the promotion of educational and social development. While previous research proceeded from the visual cultural education positions of the Visual Cultural Art Education(VCAE) theory and the Discipline Base Art Education(DBAE) paradigm, this study will seek to identify the beneficial elements and the positive and negative influences of visual culture contents. Through the interpretation of the background of forming visual culture and the adjustment of visual culture contents more effective applications of visual culture can be established. Research into visual cultural elements can provide the motivation to improve the effectiveness and productivity of culture-based industries in local venues. The examination of specific materials and their use at visual culture contents can identify applicable educational features and the benefits to be derived from their implementation. This study focuses on the inclusion of visual culture and visual culture contents particularly from the standpoint of visual cultural theories discussed during the 1990's. Research into the visual cultural elements will give direction to the promotion of educational and social development. While previous research proceeded from the visual cultural education positions of the Visual Cultural Art Education(VCAE) theory and the Discipline Base Art Education(DBAE) paradigm, this study will seek to identify the beneficial elements and the positive and negative influences of visual culture contents. Through the interpretation of the background of forming visual culture and the adjustment of visual culture contents more effective applications of visual culture can be established. Research into visual cultural elements can provide the motivation to improve the effectiveness and productivity of culture-based industries in local venues. The examination of specific materials and their use at visual culture contents can identify applicable educational features and the benefits to be derived from their implementation.

한ㆍ일 영상콘텐츠의 원형성 비교에 관한 시론적 연구- 분열형태적 구조와 신비적 구조의 대비 -

유제상 인문콘텐츠학회 2018 인문콘텐츠 Vol.0 No.48

Visual contents mean moving images such as films, soap operas, animations, music videos. They have more informations than texts or still images. Thus visual contents give brand-new images and they stimulate customers’ a sense of sight. An interesting thing is that visual contents include locality where they are made in. As everyone knows, nations and peoples settled in specific areas have been affected by geographic and climate conditions. Therefore, locality is related to local culture. And locality affects popular culture and cultural contents. It indicates that visual contents have local characteristics, In other words, it is ‘the regional archetype’. This study analyzes the comparison of the characteristics in regional archetype of Korean visual contents and Japanese one. As a theoretical tools, this article makes use of Gilbert Durand’s two regimes of images. In the result of this study, it shows the followings. Korean visual contents have schizomorphes with the power of expressing themselves outside strongly. Whereas Japanese visual contents have mystiques with heading to inside calmly. To understand symbolic images of visual contents in both of nations, we need to keep this study on an archetypal characteristics. 영상콘텐츠는 움직이는 화상(畵像)을 주된 내용물로 삼는 콘텐츠를 통칭하는 용어로 영화, TV 드라마, 애니메이션, 뮤직비디오 등을 포괄한다. 문자 텍스트나 정지된 화상에 비해 높은 밀도의 정보를 지닌 영상콘텐츠는 끊임없이 새로운 볼거리를제공함으로써, 수용자의 시각을 자극하는 특성을 지닌다. 흥미로운 점은 영상콘텐츠가 그것이 만들어진 지역의 특성인 ‘지역성(地域性, locality)’을 반영한다는 것이다. 특정한 지역에 뿌리내린 국가와 민족은 지리적 특성과 기후로 인해, 오랜 세월에걸쳐 고유한 지역성을 확보한다. 이러한 지역성은 지역의 문화와 밀접한 관련을맺으며, 그 지역에서 생산된 영상콘텐츠에 영향을 미친다. 따라서 영상콘텐츠는‘지역의 원형성’을 지닌다고 할 수 있다. 본 연구는 이러한 한국과 일본의 지역성을반영한 영상콘텐츠의 원형성을 분석한다. 이는 영상콘텐츠에 나타난 차이점을 살펴봄으로써, 나아가 양국의 영상콘텐츠를 이해하는데 도움을 주기 위함이다. 영상콘텐츠에 나타난 원형성을 분석하기 위하여, 본고는 프랑스의 철학자 G. 뒤랑의 ‘이미지의 체제 ― 낮의 체제와 밤의 체제 ― ’를 활용한다. 분석 결과를 미리 제시하자면, 먼저 한국의 영상콘텐츠는 ‘분열형태적 구조’의 특성을 띠며, 스스로를 ‘외부로 표출시키는 힘’을 지니고 있다. 반면 일본의 영상콘텐츠는 ‘신비적 구조’의 특징을 띠며, ‘차분하게 내부를 지향하는 성향’이 나타난다. 지역성을 내포하는 영상콘텐츠의 원형성을 다룬 본 연구가 영상콘텐츠뿐만 아니라, 한ㆍ일 양국의 문화콘텐츠 전반에내포된 의미를 이해하는데 도움을 줄 것으로 기대한다.

Content-aware Image Retargeting Based on Visual Effect Assessment

Lihua Bi,Canlin Li 보안공학연구지원센터 2015 International Journal of Signal Processing, Image Vol.8 No.5

Content-aware image retargeting has drawn much attention in image and vision research in recent years. However, existing methods are very difficult to ensure that the result images from retargeting achieve good visual effect on the whole, since these methods mainly focus on spatial image information. In this paper, we propose a new approach on content-aware image retargeting based on visual effect assessment. We establish an evaluation mechanism of the visual effects of retargeted images which is based on a priori statistical knowledge through studying the user's evaluation, and build the computable model of visual effect assessment of retargeted image with the help of mathematical description from Dynamic Bayesian Networks. After finishing content-aware processing and construct a three-level model of visual saliency contents for the original image, we retarget the original image into the target image by virtue of deforming image, and integrate computable model of visual effect assessment into retargeting process, so as to guide the retargeting. Finally, by steadily adjusting the size of the intermediate results from deforming image, we make this size be eventually equal to the size of the target image of retargeting, under the constraint that the result image should acquire good visual effect through optimizing the parameters of visual effect assessment. Real data have been used to test the proposed approach and very good results have been achieved, validating it.

확장현실 미디어의 시각화와 콘텐츠 프로덕션 -디지털 기술과 확장적 비주얼 스토리텔링을 중심으로

김관수 ( Kim Kwan-soo ) 커뮤니케이션디자인학회 2022 커뮤니케이션 디자인학연구 Vol.81 No.-

본 연구는 가상현실 콘텐츠가 디지털 미디어 기술과 융합하여 확장현실 콘텐츠로 진화하는 프로덕션을 고찰한다. 초기 가상현실에서 진화된 확장현실 프로덕션에서 다양한 디지털 기술을 응용하여 시각화 프로세스와 디자인 워크플로우를 재구성하고 새로운 아이디어와 비주얼 스토리텔링을 가능하게 하는 창조적 영향을 제작 사례를 통하여 분석한다. 가상현실은 사각의 프레임 안에서만 구성되던 비주얼 스토리텔링을 360도 모든 방향에서 전개되도록 했으며 사용자가 스토리가 진행되는 공간을 둘러보고 상호작용을 할 수 있는 능동형 미디어의 가능성을 열었으며 확장현실 콘텐츠의 토대가 되었다. 확장현실 프로덕션에서 포토그래메트리와 볼류메트릭 스캐닝, 퍼포먼스 캡처와 모션 트래커 등의 디지털 기술은 가상 공간에 더욱 사실적인 캐릭터와 환경을 구축할 수 있도록 하며, 실시간 게임엔진에 구축된 가상 세계와 현실을 융합하는 비주얼 스토리텔링은 확장현실에서 사용자 체험을 다양화한다. 디지털 미디어 기술이 확장현실 프로덕션에 적용된 시각화 프로세스와 융합적 프로덕션 워크플로우는 다양하고 창조적인 비주얼 스토리텔링의 가능성을 보여주었고 앞으로 전개될 콘텐츠 제작의 기반이 될 수 있다. 확장현실 미디어는 새로운 기술의 발전을 거듭하고 있으며 향후 이러한 진보가 미디어 프로덕션에 응용되어 콘텐츠 제작의 지평이 확장되기를 기대한다. This study concerns the synthesis of virtual reality (VR) contents with digital media technology in their evolution into extended reality (XR) contents. Applying various digital media technology to extended reality content production, which have developed from virtual reality in its earlier stages, positively reconstructs visualization and design work flow, and allows for novel ideas and visual storytelling. Such effects will be examined through analyzing cases of content production. Virtual reality frees visual storytelling from being constrained to a rectangular frame, allowing the story to be told from all angles and enabling users to roam around and interact with the space in which the story takes place, thus allowing active engagement with the media itself and forming the basis of extended reality contents. In extended reality production, digital technology such as photogrammetry, volumetric scanning, performance capture, and motion tracker allow for more realistic characters and environment in virtual reality, and visual storytelling, which converges reality with virtual reality built in real-time inside game engines, brings more versatility to user experience. With digital technology applied to extended reality content production, the visualization process and integrative production work flow together open up the possibility for versatile and creative visual storytelling and show promise as the foundation of future content production. Extended reality media is undergoing technological innovation, which upon its application to media production, can be expected to expand the horizon for future content production.

Sound Visualization기반 VR콘텐츠 특성연구

김상준,한정엽 한국공간디자인학회 2017 한국공간디자인학회논문집 Vol.12 No.6

(Background and Purpose) Visualizing images through music invokes the interest of the audience and conveys the intention of the composer with greater clarity. Such images are informative for listeners through both their visual and auditory senses, and increases immersion in works. If contents created through multisensory art activities could be applied to virtual reality, it would become possible to cope with the requirement of the times to pursue more novel media and expand into research exploring next-generation realistic sense technology. Thus, the objective of this study is to present directions for sound visualization-based VR content development through investigation into such characteristics. (Method) Currently, there has been little study that directly investigates cases involving production of sound visualization-based VR contents or their characteristics. The study is therefore intended to derive conclusions based on in-depth comparative analyses of cases of sound visualization-based VR content production and VR content production cases investigated by previous studies. (Results) Each case of content production was found to have the following characteristics: First, artistic works began to be implemented in virtual reality. Second, 3D sound was being actively developed for rendering the senses of orientation, distance and space in virtual reality. Third, music and sound were visualized. Based on those characteristics, sound visualization-based VR contents can be characterized as the following: First, users exposed to sound visualization-based VR contents will experience an unrestrained line of vision within 360° virtual reality space through HMD from the perspective of the environment being experienced. Second, 3D sound technology can be used to render the senses of direction, distance and space in virtual space from the perspective of the rendering methods. Third, users exposed to sound visualization-based VR contents will have an increased sense of presence and immersion, due to the illusion that they are actually present in virtual space. Thus, the contents will change from the contents being viewed to the contents being experienced. (Conclusions) Sound visualization-based VR contents, which merge art and engineering, enable the visualization of music in virtual reality, and therefore provide users with a new experience. Sound visualization will inspire development of the contents to be experienced, going beyond the boundary of contents intended only for vision, and furthermore, will effectively reflect the intention of works in the formative sound information space using VR produced by artists, and evolve into VR contents with a high sense of presence and immersion. (연구배경 및 목적) 음악에 맞춰 시각화 되어진 영상은 음악을 청중들에게 흥미를 유발시키고 작곡가의 의도를 좀 더 명확히 전달시킨다. 이러한 형태로 듣는 이에게 청각뿐만 아니라 시각을 통하여 여러 정보를 제공하며 작품의 몰입도를 높여주게 된다. 이러한 공감각적인 작품 활동을 통해 제작된 콘텐츠를 가상현실에서 구현한다면 좀 더 새로운 미디어를 추구하려는 시대적 요구에 대응할 수 있게 되고 차세대 실감 기술 연구로 확대 시킬 수 있게 된다. 이에 그 특성을 연구하여 향후 Sound Visualization 기반 VR콘텐츠 개발의 방향성을 제시하는데 목적이 있다. (연구방법) 현재 Sound Visualization 기반 VR 콘텐츠는 제작사례나 특성에 관련된 직접적인 연구가 아직 진행되어 있지 않다. 따라서 선행연구가 진행된 VR콘텐츠와 소리 시각화 각각의 제작 사례를 심층적으로 비교 분석하여 결론을 도출하고자 하였다. (결과) 각각의 사례들은 다음과 같은 특성을 가지고 있다. 첫째, 아티스트의 작품이 가상현실에서 구현되기 시작하였다. 둘째, 가상현실에서의 방향감, 거리감, 공간감의 표현을 위해 3D 사운드가 적극적으로 개발되고 있다. 셋째, 음악과 소리를 시각화 하였다. 이러한 특성을 통해 Sound Visualization기반 VR콘텐츠의 특성을 종합해 보면 첫째, 체험환경측면에서 체험자는 HMD를 통한 360°가상현실 공간 내에서의 자유로운 시선 경험하게 된다. 둘째, 표현방법 측면에서 3D Sound 기술을 활용하여 가상공간에서의 방향감, 거리감, 공간감 표현할 수 있게 된다. 셋째, 사용자 경험 측면에서 체험자는 가상공간에 현존한다는 착각을 통해 현장감과 몰입도가 증대된다. 따라서 ‘보는’콘텐츠에서 ‘경험하는’콘텐츠로 의식이 변경되게 된다. (결론) Sound Visualization기반 VR콘텐츠는 예술과 공학의 융합으로 말미암아 음악의 시각화가 가상현실에서 구현될 수 있다는 점에서 체험자에게 새로운 경험을 선사해 주게 된다. 소리 시각화 형상을‘보는’것으로부터 ‘경험하는’것으로 개발 방향성이 제시되며, 향후 VR을 활용한 예술가들을 통해 사운드 조형 정보 공간에서 작품의 의도를 잘 반영할 수 있는, 그리고 현장감과 몰입도가 높은 VR콘텐츠로 발전하게 될 것이다.

영상콘텐츠 기획을 위한 스토리텔링 전략

김정희(Kim Jeong-hee) 한국문화산업학회 2010 문화산업연구 Vol.10 No.1

This paper is concentrating on a strategy of storytelling which is utilized as a core skill in developing cultural contents. First of all, the study analysed how the cultural contexts involved in a concept of cultural contents act on a storytelling. Then, we applied the outcome to a process of visual-image contents planning. Planning visual-image contents is operated through the basic principle of both the universality and the special characteristic, which indicates in the frame of the intertextuality, the original story is fictionalized by borrowing the universality. In conclusion, I suggest certain strategy model of storytelling which will be created in the process of the transformation. The visual-image contents industry in the country has been showing the systematic weaknesses of planning. With concern of that, we hope this study will contribute to improving planning ability and developing an executive scenario. This paper is concentrating on a strategy of storytelling which is utilized as a core skill in developing cultural contents. First of all, the study analysed how the cultural contexts involved in a concept of cultural contents act on a storytelling. Then, we applied the outcome to a process of visual-image contents planning. Planning visual-image contents is operated through the basic principle of both the universality and the special characteristic, which indicates in the frame of the intertextuality, the original story is fictionalized by borrowing the universality. In conclusion, I suggest certain strategy model of storytelling which will be created in the process of the transformation. The visual-image contents industry in the country has been showing the systematic weaknesses of planning. With concern of that, we hope this study will contribute to improving planning ability and developing an executive scenario.

영상콘텐츠에서 테마공간으로의 전환 양상

신동희(Dong-Hee Shin),김희경(Hee-Kyung Kim) 한국콘텐츠학회 2012 한국콘텐츠학회논문지 Vol.12 No.4

본 논문은 영상콘텐츠에서 공간콘텐츠로의 전환의 핵심을 각색(adaptation)에 두고, 테마공간의 원형콘텐츠인 영상콘텐츠가 어떻게 각색되어 공간으로 재현되어야 하는가를 밝히는 것을 목적으로 한다. 또한 스토리텔링에 대한 연구는 무수히 많이 쏟아져 나오고 있고, 소설의 영화화나 TV드라마화, 영화의 게임화나 그 반대와 관련한 각색 연구는 많지만 영상콘텐츠에서 테마공간으로 전환 시의 각색의 방법과 스토리텔링의 전단계라는 측면에서의 각색에 대한 연구는 부족한 편이다. 우선 각색의 정의를 내리고, 자네티와 더들리의 각색방법을 차용하여 영상콘텐츠의 테마공간화에 적용해 보았다. 이어서 테마공간의 특징을 살펴본 후 테마공간은 결국 영상콘텐츠의 이야기?이미지?행위의 재현 장소임을 사례분석과 함께 밝히고, 각각 어떤 각색을 통해 재현되고 있는가를 분석하였다. 연구결과 공간의 스토리텔링보다 각색이 선행작업이어야 하고, 3인칭 시점의 영상콘텐츠와는 달리 1인칭 시점의 테마공간 재현의 핵심은 관람이 아닌 체험임을 확인하였다. 따라서 본 논문에서는 영상콘텐츠에서 테마공간의 전환은 단순한 모방이 아니라 새로운 콘텐츠로 재창조되었음을 밝혔다. 향후 다양한 테마공간의 구체적인 각론적 층위에서의 분석을 통해 양자간의 전환이 효과적으로 작용하고, 다양한 각색 방법이 실질적으로 적용되기를 기대한다. The purpose of the thesis is to answer the question on how the visual image content, being the original content, should be adapted to and represented as a spatial content. The thesis focuses on adaptation as the key in the conversion process of visual image content to a themed space. There are many published studies dealing with storytelling, adaptation from books to movies and TV shows, or from movies to games and vice versa. On the contrary, when it comes to adaptation from visual image content to spatial content, noticeably few studies were done on the method, and fewer studies view adaptation as the prior step of storytelling. This study first defines adaptation, and then applies the methods of Gianetty and Dudley which is further incorporated into the conversion of visual image content into a themed space. It then turns the attention to the characteristics of themed spaces. A case study highlights that a themed space is a spatial representation of the story, image and action in the visual image content, and analyze the type of adaptation made. The study results draws two conclusions; adaptation must be carried out prior to the storytelling of the spatial content; and opposed to a third-person view of the visual image content, the main factor in a themed space is first-hand experience. Thus, the thesis suggests that conversion from visual image content to themed spaces are not merely imitative but is a full range of recreation of a new content. It is expected that more detailed analyses on the particulars will lead to feasible outcome on implementing various methods of adaptation and bring about effective conversions between the visual image contents and themed spaces.

해외 영상콘텐츠형 테마파크의 디지털 어트랙션 공간디자인 경향 연구 -유니버설 스튜디오 할리우드를 중심으로-

최주연,최정아 한국디자인문화학회 2019 한국디자인문화학회지 Vol.25 No.4

최근 해외 영상콘텐츠형 테마파크는 디지털 미디어를 활용하여 다양한 체험을 제공하고 있지만 국내 테마파크의 경우 영상콘텐츠 부족 및 스토리 부재, 관람형의 체험 공간 등의 문제로 세계적인 테마파크 수준에비해 미흡한 실정이다. 본 연구자는 영상콘텐츠형 테마파크의 디지털 어트랙션에 관한 이론적 고찰을 통해 디지털 체험방법과 모빌리티 시스템을 적용한 총 9가지디지털 어트랙션 유형을 도출하였고, 체험구성요소로써 영상콘텐츠, 디지털 방법, 고정 공간요소, 반고정 공간요소, 비고정 공간요소로 분류하여, 이를 해외 성공적으로 운영하고 있는 유니버설 스튜디오 할리우드의5곳의 디지털 어트랙션에 적용하여 분석 평가하였다. 분석 결과, 영상콘텐츠형 테마파크의 디지털 어트랙션은 역동적이고 현실감 있는 체험 몰입 공간으로써 체험의 효과를 극대화시키는 영상콘텐츠형 테마파크의 디지털 어트랙션으로 공간을 디자인해야 함을 알 수 있었다. 본 연구는 영상콘텐츠형 테마파크의 디지털 미디어를 이용한 상호작용을 통하여 몰입효과를 극대화하는방안으로 활용될 것이며 향후 영상도시 활성화를 위한국내 영상콘텐츠형 테마파크의 디지털 어트랙션의 공간디자인의 발전에 기여하고자 한다. Recently, visual content-type theme parks in foreign countries are providing various experiences using digital media. However theme parks in Korea have problems such as lack of image contents, absence of story, and experience space in the viewing area. This situation is not as good as that of a global theme park. Through A Theoretical Study on Digital Attraction of Visual Content-type Theme Park, A total of 9 digital attraction types was drawn using digital experience methods and mobility systems and the framework of digital attraction analysis was suggested for visual content-type theme park. As a component of experience, It was categorized into visual contents, digital method, fixed space element, semi-fixed space element, and non-fixed space element. This was analyzed and evaluated by applying it to 5 digital attractions of Universal Studios Hollywood, which are successfully operating overseas. From the results, the digital attractions of the visual content-type theme park is designed as a dynamic and realistic immersion space which maximizes the effectiveness of the experience. This study will be used as a method to maximize immersion through digital media interaction in visual content-type theme parks and contributed to the development of digital attraction space design in domestic visual content-type theme parks for revitalizing image cities in the future.

비주얼문화콘텐츠 핵심요소로서의 시지각적 착각의 유희 : 뤼미에르 형제의 영화 <열차의 도착>에서 미국의 글로컬 게임 <스타크래프트>까지

김성수 영상예술학회 2011 영상예술연구 Vol.18 No.-

현대는 비주얼문화의 시대라고 해도 과언이 아니다. 수많은 비주얼문화콘텐츠 작품들이 대중의 감성을 사로잡고 있으며, 특히 미국의 비주얼문화들이 세계 시장에서 크게 호평 받고 있다. 현대 비주얼문화를 열었던 초기 영화들 중 주목할 만한 작품은 아마도 1895년에 제작된 영화 <열차의 도착>일 것이다. 활동사진과 원근법이라는 시지각적 착각 기법의 결합은 당시 대중들에게 큰 충격을 주었으며, 일종의 유희가 되어 미국 할리우드 블록버스터 영화의 지향점인 스펙터클로, 더 나아가 세계 최고의 게임 중 하나인 <스타크래프트>와도 연결되고 있다. 가상성, 최면성, 비일상적인 일상성, 이미지텔링 등이 이 유희의 원인으로 작용하고 있다. 더욱이 비디오게임은 일종의 가상현실인 바, 이 원인들 모두가 가상과 현실의 넘나듦에도 관계가 있는데, 가상을 지각함 자체가 현실이 되고, 현실에서 도피하여 가상을 즐기게 되는 상황의 현실로 인해 현대인들은 이 구분을 넘나들 수 있게 되었다. 이런 내용들이 글로컬 개념과 결합하여 킬러콘텐츠를 만들어 내고 있다. 지역의 비주얼과 내용들을 담고 있는 비주얼문화콘텐츠들이 세계로 퍼져 가고 있는 것이다. 시각적 측면에서 보면, 시지각적 착각의 유희라는 보편성에 미국이라는 지역적 요소가 결합된 것이 할리우드 블록버스터 영화들의 특징이다. 보편적으로 유희화된 <스타크래프트>의 세계적 성공 요인들 중의 하나는 게임에 들어 있는 다양한 글로컬적인 측면, 곧 미국 콘텐츠 제작사의 글로컬 전략일 것이다. We live in an age of visual culture. Numerous products of Visual Cultural Contents appeal to the public sensibility. Especially, American Contents are welcomed in the international market. One of the early films that opened up the age is the film Arrival of the train in Ciotat station. The combination of motion pictures and perspective (i.e. the combination of motion and depth visuality) of the film shocked the public with its spectacle, and become the amusement of the Visual-perceptual illusion which was later to be the ultimate goal of Hollywood blockbusters under the notion of spectacle. In this respective, it is also related to one of the world's most popular computer games StarCraft. They share features such as virtuality, state of trance, non-ordinary ordinariness and the density of the image-telling. Since video games are a sort of virtual reality, all these features are related to the crossing of reality and a virtual world. The recognition of a virtual world is a reality and an escape from reality into a virtual world is also a reality. The public is now able to cross the boundary between reality and a virtual world. This aspect which is connected with the notion of Glocal produces world famous killer contents. Products of Visual Cultural Contents that contain local visuals and contents are now spreading throughout the world. In the view of visuality, the combination of the universality which comes from the amusement of the Visual-perceptual illusion and the American locality is the main feature of Hollywood blockbusters. One of the secrets of the success of StarCraft that is already keen to the illusionary amusement in the global market is its glocal aspect, which is the result of the glocal strategy of the US production company which made the game.