『자에는 자로』에 나타난 관객 반응 연구

남현숙(Hyun Sook Nam) 한국셰익스피어학회 2008 셰익스피어 비평 Vol.44 No.4

This paper aims to study the audience's response in the problem play, Measure for Measure. It does not permit its audience to become emotionally involved to any extent. Characters' inconsistencies and contradictions prevent the audience from identifying with them. Instead, this play frequently reminds audience that he or she is the only observer of these perplexing characters. Likewise, the obvious display of thematic issues tends to de-emphasize emotional involvement. Measure for Measure initially draws the attention of the audience, but after the opening act of the play, the audience's relationship to the play begins to change. The audience's expectations, based on its assumption that this play is romance, are soon frustrated during the second or the third act. A new identity does not emerge to serve as a guideline for directing the audience's anticipations. The audience cannot reconcile the Duke's inclination for manipulation and his questionable morals with the role of the conventional Disguised Ruler of romance. The most distinctive form which distinguishes this play from other comedies is that the final scene of the play is open-ended. The play frustrates the audience's expectations by ending inconclusively. The audience leaves the theater without the comfort of a genuine resolution often because the seemingly happy endings seem to be only mechanical results of the plot. Marriage, for example, is usually the most satisfactory comic conclusion in romance. But the marriages at the end of Measure jar Measure produce the opposite effect on the audience. The ending of Measure for Measure leaves the audience disconnected, so the audience remains in a state of indecision. The audience leaves the theater unable to solve the dilemma of the play's ending. In a sense, the play continues to involve the audience with the play precisely because it lacks the solution. Shakespeare keeps the audience concerned with the dilemma which the play causes after the audience leaves the theater. Thus this play, Measure for Measure, is Shakespeare's highly experimental one.

관객반응을 위한 셰익스피어의 실험적 기법:「트로일러스와 크레시다」 를 중심으로

남현숙(Hyun Sook Nam) 한국영미어문학회 2015 영미어문학 Vol.- No.118

This study aims to show that the ambivalent response felt by the audience of the Troilus and Cressida was a purposeful effect achieved by Shakespeare’s dramatic technique. The play is a story interwoven with love and war plots which produces a continual alternation between narrative stasis and narrative movement. And the story consists of the contradictory behavior of the characters, a static narrative, anticlimax, and the unresolved ending. Shakespeare manipulates audience response to the various characters and events using the degenerative theory. The response of the audience is created by various dramatic techniques which create a movement in the play that alternately attracts and repels the audience. The playwright achieves a detachment by the technique of inflation and deflation. Expectations are aroused and lowered between scenes; expectations of character are inflated by descriptions by other characters and then deflated by actual portrayals. The play dose not permit its audience to become emotionally involved to any extent. Thus Shakespeare keeps the audience concerned with the puzzle which the play entails after the play ends. So this play may be called an aspect of life. It deals with two all important facets of civilization: love and war. The playwright may tell us that the play is not resolved because these problems are never resolved and human cruelty, self-deception and lust go on through the generations.

『햄릿』에서 셰익스피어의 관객 통제

이용은 한국중세근세영문학회 2015 고전·르네상스 영문학 Vol.24 No.2

This article aims to reveal that Shakespeare’s Hamlet was written in order to get a positive response from the audience. The playwright created the hero, Hamlet, for that purpose. Shakespeare controlled audience response by creating Hamlet who was not against the beliefs and concepts of the times. The audience favors Hamlet who is good-natured and moral and who mostly delays the revenge of his dead father. The more Hamlet delays, the more the audience favors him. Delaying is the result of ‘thought’ and his thought is the expression of his conscience. Therefore the audience liked Hamlet’s conscientiousness. This article will prove this argument by discussing how Hamlet is good-natured and moral, finally it will show why the ‘thought’ is related with Hamlet’s delay. Hamlet’s audience would at least have understood his reasons for the delay of revenge and would have understood that conscientious ones had no choice but to delay, therefore they came to understand Hamlet’s actions. The audience liked Hamlet because the audience was aware of the literary tradition of ‘thought’ that dates back to the Middle Ages and shared the beliefs and concepts of the times.

국내 유튜브에 나타난 혐한 관련 UCC 동영상의 유형별 특성과 수용자반응 연구

이노미 ( Lee No-mi ) 커뮤니케이션디자인학회(구 시각디자인학회) 2017 커뮤니케이션 디자인학연구 Vol.61 No.-

본 연구는 일본 혐한(嫌韓) 단체들이 뉴미디어 매체인 유튜브를 통해 정치적 세력을 확산하고 있는 점에 착안하여 국내 유튜브에 탑재된 혐한 관련 UCC동영상의 유형별 특성과 수용자반응을 파악하는데 그 목적이 있다. 연구결과 국내 언론과 수용자들의 혐한 동영상에 대한 인식은 매우 미비한 수준으로 나타났으며 대부분 케이블방송과 인터넷방송에서 게시한 3분 이내의 TV뉴스형, 사회, 정치관련 창작동영상이 주를 이루는 것으로 나타났다. 또한 혐한 관련 다큐멘터리에 높은 반응을 보임으로써 국내 수용자들의 혐한에 대한 정보취득 욕구가 상당 수준에 달하는 것으로 규명되었다. 뿐만 아니라 수용자의 댓글 유형분석에 있어 이성적인 논리형과 중재형이 많은 의외의 결과가 도출되었다. 앞으로는 공영방송을 중심으로 혐한 갈등해소의 전략적 방안을 모색하는데 주력하여야 한다. 한편 본 연구는 UCC동영상의 유형별 특성과 국내 수용자의 혐한에 대한 반응을 새롭게 포착함으로써 혐한 해결방안에 대한 실천적 전략의 기초자료를 제시하였다는데 의의가 있다. The purpose of this study is to grasp the audience response according to types of anti-Korean UCC videos in domestic YouTube. As a result of analyzing the anti-Korean UCCvideos posted on YouTube, it was found that the response of the domestic media and audience in anti-Korean videos is very low and such videos were mainly less than 3 minute long TV news-type creative videos related to society and politics that were posted by cable and internet broadcasting. In addition, the high response in anti-Korean documentaries showed that the desire of domestic audience to obtain information about anti-Korean sentiment was significant. In addition, in the analysis of the types of comments, there was an unexpected that showed more reasonable and logical type and mediating type than emotional responses. This study is significant in that it presented base data for practical strategies to resolve anti-Korean sentiment by finding out the awareness and responses about anti-Korean sentiments of domestic audience.

역방향 구성 드라마터지와 관객반응 : 헤롤드 핀터의 『배신』을 중심으로

임도현 ( Do Hyun Rim ) 한국드라마학회 2014 드라마연구 Vol.0 No.44

This essay explores Pinter``s anti-clockwise dramaturgy in his Betrayal, focusing on audience response. The play moves backwards in time except Scene 1, 2 and Scene 5, 6, 7, which move chronologically. That is, it begins with Scene 1(1977) where Jerry meets Emma about two years after their adulterous relationship has finished and ends with Scene 9(1968), where their affair begins. Compared with normal plot dramaturgy, this dramaturgy gives the audience challengeable experiences. In the movement of plot from present to past, the influence of the cinematic technique of the flashback is detected. The main goal of employing the backwards plot deployment is to offer the audience an objective perspective of events in the play. Thanks to the backward plot dramaturgy, the audience pays more attention to the mechanics of betrayal rather than the sexual aspects of the affair. Ultimately, the audience confronts the generalized and abstracted structure of the theme, betrayal, as a result of experiencing various forms of betrayals that pervade in the play. Furthermore, the audience can analyze and criticize the characters in the play instead of sympathizing with them because of knowing the consequence of the play from the beginning. The last scene(Scene 9) shows that Jerry``s betrayal starts from his self-betrayal, which brings out many other betrayals between characters for nine years. The audience is betrayed by the triviality of the incipient nature of betrayal. Finally, the scene also gives the audience an opportunity to witness the effects of time on Emma. In conclusion, this essay argues that Pinter``s dramaturgy of reversing the timeline plays an important role to achieve the writer``s aim of establishing an objective point of view and to allow the audience various theatrical experiences as well. 이 논문은 헤롤드 핀터의 『배신』에 사용된 역방향 구성 드라마터지를 관객반응을 중심으로 연구한다. 극은 처음 1, 2장과 중간 부분의 5, 6, 7장을 제외하고는 모두 비연대기적으로 진행한다. 이러한 드라마터지는 순방향 드라마터지에 비해서 관객에게 상당히 도전적인 경험을 제공한다. 사실 시간의 흐름이 자유로운 드라마터지는 핀터의 영화 시나리오 작가로서의 경험에 기인한 것인데 그가 이러한 영화적 기법을 연극 무대에 전용한 주된 목적은 관객이 극에서 연출되는 사건들에 이성적이고 객관적인 관점을 갖도록 하기 위해서이다. 관객에게 객관적 관점을 제공하기 위한 목적으로 사용된 역방향 구성 드라마터지는 관객이 극의 플롯인 제리와 엠마 그리고 로버트의 삼각관계가 아니라 그들이 서로가 서로에게 가하는 배신들과 그 배신의 기법들에 주목하게 한다. 그 덕분에 관객들은 이 극에 널리 퍼져 있는 다양한 종류의 배신들과 접하게 되고 그 결과 이 극이 배신에 대한 특정한 이야기가 아닌 우리 인간관계에서 경험할 수 있는 모든 배신을 극화하고 있다는 것을 인식할 수 있게 해준다. 또한 극의 처음부터 극의 결말을 알게 하는 역방향 구성 드라마터지는 관객이 극중 인물보다 극의 상황에 더 많은 정보를 갖게 됨으로써 관객이 초월적인 관점을 갖게 한다. 이 덕분에 관객은 극중 인물과 감정적으로 동화되기보다 그들의 행동이나 감정을 객관적인 입장에서 분석하고 비판할 수 있게 된다. 또한 극중 인물의 대사가 내포된 뜻을 제공된 정보에 근거하여 추론하고 분석하여 이해하게 됨으로써 제2의 작가의 역할도 할 수 있게 된다. 극의 마지막 장면인9장에서 관객이 경험하는 것은 좌절감이다. 9년 동안 수 많은 배신이 가능하게한 그 최초의 배신이 관객의 기대와 달리 너무도 미미한 것이기 때문에 이를 목격한 관객은 그 사소함에 배신감을 느끼게 된다. 또한 관객은 극의 마지막을 장식하는 엠마의 모습이 극의 제일 처음인 1장에서와 첨예하게 대비되는 것을통해 시간이 인간에게 가하는 배신 역시 경험하게 된다. 결론적으로 핀터의 역방향 구성 드라마터지는 객관적 관점을 관객에게 제공하려는 그의 의도를 충족시켜 줄 뿐만 아니라 연대기적 극에서는 경험할 수 없는 다양한 관객 경험을 가능하게 한다고 할 수 있다.

Equus 한국 공연: 비평과 관객 반응

김춘희 한국현대영미드라마학회 2019 현대영미드라마 Vol.32 No.2

The productions of Equus summoned the audiences of the past towards its revival to celebrate the spirit of Equus with its enduring emotional power—a certain Artaudian perspective—over the past four decades. My inquiry begins with the following question: how can the long revival phenomena be understood as symptomatic of contemporaneity of the play—‘contemporaneity’ as an experience to be had—in form and function in Korean cultural context? Given that the play appears to have a certain universal contemporaneity, I proceed to illuminate the nature of the ‘universality’ by examining issues such as: two divergent critical perspectives on the ‘Equus Fever’ generated from the first production of Equus in Korean cultural context; the Korean productions of Equus on the basis of the criticism responses for decades which result in revealing and positioning the ‘audience’ as critical subjectivity. Here, transatlantic productions of Equus that prompted the dichotomous debate over the ‘Equus Fever’ are brought into our argument on the ‘audience response’ to situate Korean productions within the wider cultural context. After examining those above issues, we come to the conclusion that a genealogy of audience research of Equus—based on theoretical capacity inherent in the history of Korean productions and acquired from the criticism responses to them—will be envisioned as a new prospect in the field of audience researches that is both reliable and valid for within proper ‘cultural studies.’ ,

민요 소리판의 양상과 청중의 상관성

박현숙(Park, Hyeon-suk) 안동대학교 민속학연구소 2016 民俗硏究 Vol.0 No.32

이 논문은 오늘날 민요 연행현장에서 형성되는 소리판의 여러 양상을 청중과의 상관성을 통해 밝히는 데 목적이 있다. 연구대상은 경기도 하남시 민요 소리판 현장조사 자료를 기반으로 한다. 민요 채록을 위해 즉흥적으로 마련된 소리판은 소리판에 대한 청중의 인식과 반응에 따라 매우 다양한 형태로 형성된다. 민요 소리판에 대한 청중의 인식은 크게 긍정적 인식과 부정적 인식으로 나눌 수 있다. 청중이 소리판에 대해 긍정적 인식을 지닌 경우에 토론․재현형, 유흥․놀이형, 격려ㆍ응원형의 소리판이 형성된다. 토론ㆍ재현형 소리판은 청중이 과거 전통사회에서의 경험을 있는 그대로 재현하기 위해 소리판에 적극적으로 개입하여 의견을 제시하고 조율한다. 유흥ㆍ놀이형 소리판은 청중이 소리꾼의 소리에 맞춰 자발적으로 춤을 추거나 많은 청중들의 참여 유도, 나아가 가창자로 전환하여 신명나는 소리판을 주도해 나간다. 격려ㆍ응원형 소리판은 소리꾼이 가창을 망설이거나 소극적일 때 청중이 소리판에서 일정한 거리를 유지하며 소리꾼을 응원하고 격려하여 소리꾼의 가창을 이끌어준다. 청중이 소리판에 대해 부정적 인식을 지닌 경우에 회피ㆍ침묵형, 거부형의 소리판이 형성된다. 회피․침묵형 소리판은 청중이 소리판의 구성원으로 존재하지만 소리꾼의 가창에 대해서는 외면하며 회피와 침묵으로 일관한다. 거부형 소리판은 청중이 소리판에 대해 강한 거부감을 드러내어 소리판 형성 자체가 불가능하다. 민요 소리판에 대한 청중의 긍정적 인식에는 민요에 대한 개별적 관심과 즐김, 마을 주민들 간의 일상적 어울림, 민요에 대한 긍정적 향유 경험이 중요한 요인으로 작용하고 있다. 개인의 관심과 즐김이 공동체의 관심과 향유로 이어질 때, 민요 소리판은 관심 있고 즐기는 사람의 단순한 동조를 넘어서 공동체 안에서 함께 향유하고, 스스로 찾아 즐기는 마을 문화로 정착할 수 있다. This paper aims to show the diverse aspects of the folk song place that is formed in today’s folk song performance field through the correlation of its audience. An object of the study is based on the data of folk song places in Hanam-si, Gyeonggi Province, South Korea. The folk song place where is made on impulse in order to record folk songs can come in many different forms by the audience’s recognition and response about the folk song place. It is divided into two awareness: Positive and Negative. In the case that the audience has positive awareness of the folk song place, the folk song place is formed of three types: a type of discussion-reenactment, a type of entertainment-amusement, and a type of encouragement-support. In the folk song place of discussion-reenactment, the audience actively participates in the folk song place, expresses their opinions, and resolves differences among the opinions. In the folk song place of entertainment-amusement, the audience spontaneously dances to the folk song of singer, invites other audience’s participation, and leads cheerful folk song place as a singer by themselves. In the folk song place of encouragement-support, the audience keeps their distance from the folk song place and engages the singer to sing through cheering and encouragement when the folk singer hesitates to sing or be passive. In case of the audience has negative awareness of folk song place, the folk song place is formed of two types: a type of evasion-silence and a type of refusal. In the folk song place of evasion-silence, the audiences are still members of the folk song place, but they consistently ignore, evade and remain silence against the folk singer’s singing. The type of refusal folk song place is not able to form the folk song place because the audience reveals repulsion against the folk song place. Individual interest and enjoyment to the folk song, having daily relations among villagers by folk song, and positive experiences about folk songs become key factors of the audience’s positive awareness in the folk song place. When individual’s interest and enjoyment are connected with the community’s interest and enjoyment, it will be the appropriate place where is extended for a community and its culture beyond simple sympathy of the person who have interest and enjoyment to the folk song.

개인화된 전시 서비스 제공을 위한 관객 반응을 고려한 지능형 인터랙티브 시스템

박원국(Won Kuk Park),최일영(Il Young Choi),안현철(Hyun Chul Ahn),김재경(Jae Kyeong Kim) 한국IT서비스학회 2012 한국IT서비스학회지 Vol.11 No.2

The MICE(Meeting, Incentive travel, Convention, and Exhibition) industry grows steadily. Especially, exhibtion inderstry plays an important role as the effective sales and marketing tools. However, lots of studies have focused on the flow analysis of audience traffic, booth recommendation or formulaic interactions between audiences and contents in the exhibition hall. In this study, we proposed an intelligent Interactive system considering audience’s response for providing personalized exhibition service. First, we extracted components of the system architecture through the previous studies. Second, we suggested the system architecture and scenarios for intelligent interactions between audiences and contents. We hope that the proposed system will strengthen the basis for implementing interactive system in the exhibition industry.

극적몰입과정과 관객의 정서반응 연구

김동현(Kim, Dong-Hyun) 한국영상제작기술학회 2011 영상기술연구 Vol.- No.15

A movie is the art of immersion. A subject of immersion is spectators and researches into them have been conducted for a long time. Especially, scholars Seymour Chatman and David Bordwell asserted "the Narrative Delivery Model" and their bitter disputes show that the themes, they argued on, is indispensable. The spectators interact with characters, performing the movie, and they are acquired to experience the aspect of the Dramatic Immersion. The process is that the attendances are absorbed in the phrase of the Empathy from people of the stage and this Empathy gets connected with the Identification. However, the Identification is ephemeral and the process, which is generalized, can"t maintain the Dramatic Immersion of people, taking a look at the moving picture. The moving picture, which is being screened, needs to have a considerable effect on the attendances whose Emotional Response Strength is impressed with scenes of the cinema, to keep the persistence of the Dramatic Immersion in them. To require that, four essential elements of audiences" feelings are imperative. First of all, more than two pieces of the Emotional Response Link should be indicated by the context of the cinema"s scenes. Furthermore, the Emotional Response Effect must follow a principle of reciprocation. Thirdly, more than two pieces of the Emotional Response Completion have to be affected by a scene of the cinema. Finally, the audiences should be able to undergo the Mental Experience that is satisfied by three pieces of the Emotional Reaction of upper direction. The film "Secret Sunshine", which was created by a subject matter that we are visible in addition to not being visible suggests justification that four pieces of the Emotional Response Factor of the upside, which were discussed, are made concrete shape. To sum up, the film, which draws out the Audiences" Emotional Response and sustains the Dramatic Immersion, has potential to make a royal road and can become a masterwork.

육아 예능 TV프로그램과 시청자 반응에 나타난 아동 권리 침해에 대한 소고(小考)

권혜진 사단법인 한국안전문화학회 2022 안전문화연구 Vol.- No.16

Recently, parenting entertainment tv programs are gaining popularity and response from audience. Most audiences want to get help with childcare, learn the role of parenting, and have fun at the same time through parenting entertainment tv programs. Parenting entertainment programs are highly trusted by audiences due to their reality, and they affect on audiences’ parenting values, attitudes. Considering the impact and the influence of parenting entertainment tv program, it is necessary to explore to the respect for and protection of children's rights in parenting entertainment TV programs. This study aims to enhance social awareness of child rights by examining the recognition of child rights in parenting entertainment tv programs, and to provide implications for the production of child-centered parenting entertainment tv programs. For this, content analysis was conducted by monitoring a total of 70 videos and audience’s responses on parenting entertainment tv programs posted on the YouTube account of the broadcasting company. The study results were as follows: First, it was found that thumbnails and subtitles of parenting entertainment program videos are attribution-biased and infringe on child rights by caricatures of personality and behavior. This is an area that requires discussion of the appropriateness of children's developmental problems as a program with an entertainment format. Second, it was found that caricatures of children in parenting entertainment programs infringe on child right. This includes exposing the child's body, covering the child's face with food such as seaweed, adorning the child's dissatisfaction with adhesive tape, intentionally surprising the child with a hidden camera, and creating false discipline situations. Third, it was found that viewers' insulting comments about children appearing in parenting entertainment programs infringe on child right. This is an act that infringes on a child's privacy and does not consider the child safety. The insults of children are further reinforced as responses are induced and radicalized through “like” replies from third-party users to written comments. In view of the large social and cultural impact of childcare entertainment programs, child right and protection should be considered first in the media production process. Based on the above research results, suggestion were made so that the parenting entertainment TV program could enhance the public's awareness and sensitivity of children's rights. Through follow-up research, it is expected that academic discourse on media and children's rights will be formed and active research will be conducted.