A Study on Pre-Service Teachers’ Misconceptions about the Viewer

( Jeong Jinseok ) 국어교육학회 2018 國語敎育學硏究 Vol.53 No.5

This study investigated the possibility and direction for research on misconceptions in literary education by analyzing the aspects of pre-service teachers’ misconceptions about the viewer. The viewer refers to the position or quality of consciousness through which we ‘see’ events in the narrative. Readers are influenced by not only the speaker’s voice but also the viewer’s view. Depending on who is selected as the viewer, readers may have a different understanding, feeling, and judgment about a literary work. The viewer was first presented in the 2015 Revised Curriculum. Considering that the viewer is a concept unfamiliar even to teachers and that it is difficult to distinguish it from the speaker, diverse learners’ and teachers’ misconceptions will be formed in the process of teaching the concept. This study analyzed the existence, aspects, and causes of misconceptions from 47 cases of data collected from pre-service teachers. Cases in which the misconceptions were similar were categorized into the same type, and the types were labelled based on the characteristics of each aspect. And this study examined the characteristics of each type of misconception and analyzed the causes of their intervention in the formation of misconceptions. The aspects of pre-service teachers’ misconceptions about the viewer could be categorized into the type that confuses the viewer with ‘showing’, the type that misunderstands the viewer as a type of point of view, and the type that does not perceive the distinction between the viewer and the speaker. These aspects are related to the fact that when pre-service teachers construct knowledge about the viewer, they are greatly affected by prerequisite learning experiences related to showing and telling, types of point of view, and the speaker. Finally, based on the results of the analysis, this study suggested three implications for learning of the viewer, studies on literature misconceptions and substantializing literature teacher education.

영상콘텐츠 시청자의 몰입상황 분석을위한 몰입감정상태 연구

김승환,김철기 한국멀티미디어학회 2018 멀티미디어학회논문지 Vol.21 No.3

It is required for today's video contents to interact with a viewer in order to provide more personalized experience to viewer(s) than before. In order to do so by providing friendly experience to a viewer from video contents’ systemic perspective, understanding and analyzing the situation of the viewer have to be preferentially considered. For this purpose, it is effective to analyze the situation of a viewer by understanding the state of the viewer based on the viewer' s behavior(s) in the process of watching the video contents, and classifying the behavior(s) into the viewer 's emotion and state during the flow. The term 'Flow-emotion-state' presented in this study is the state of the viewer to be assumed based on the emotions that occur subsequently in relation to the target video content in a situation which the viewer of the video content is already engaged in the viewing behavior. This Flow-emotion-state of a viewer can be expected to be utilized to identify characteristics of the viewer’s Flow-situation by observing and analyzing the gesture and the facial expression that serve as the input modality of the viewer to the video content.

유튜브 채널 ‘이스타 TV’ 정보 공감 요인이 시청자 행동의도에 미치는 영향 -인플루언서의 공감을 매개 변인으로-

로요 ( Lu Yao ),이훈용 ( Lee Hun Yong ),김종무 ( Kim Jong Moo ) 커뮤니케이션디자인학회 2024 커뮤니케이션 디자인학연구 Vol.86 No.-

미디어의 변화, 인터넷 발전, 스마트폰 대중화 및 SNS 중심의 환경에서 사용자들은 시간적, 공간적 제약 없이 콘텐츠를 소비하고 있다. 유튜브와 같은 SNS 동영상 플랫폼은 시청자들에게 자유롭게 시청하고 공유할 수 있는 환경을 제공하며, 사용자들은 영상 소비자에서 전파자로의 역할까지 수행하고 있다. 유튜브 시청자들은 '좋아요', '댓글', '구독'을 통해 만족한 콘텐츠에 대한 공감을 표현하고, 이는 다른 시청자들의 영상 선택에 영향을 미치는 행동요인으로 작용하고 있다. 본 연구는 유튜브의 축구 종합 예능 채널인 이스타 TV가 제공하는 정보에 대한 공감요인이 시청자 행동의도에 미치는 영향, 그리고 인플루언서 공감이 시청자 행동의도에 어떤 매개 역할을 하는지를 알아보고자 한다. 이를 위해 총 508개의 설문을 SPSS 27.0을 활용하여 요인분석, 신뢰도 분석, 변수 간 상관관계 분석, 회귀분석 및 매개회귀 분석을 시행하였다. 분석 결과 첫째, 이스타 TV 정보 공감 요인은 ‘정보 신뢰 공감’, ‘정보 가치 공감’, ‘정보 내용 공감’, ‘정보 만족 공감’으로 나타났다. 둘째, 이스타 TV의 정보 공감 모든 요인이 인플루언서 공감에 긍정적인 영향을 주었으며, 특히 ‘정보 가치 공감’이 가장 큰 영향력을 가진 것으로 확인되었다. 셋째, 이스타 TV의 정보 공감 요인과 인플루언서 공감이 시청자 행동의도에 미치는 영향을 분석한 결과, ‘정보 내용 공감’, ‘정보 만족 공감’, ‘인플루언서 공감’은 시청자 행동의도에 긍정적인 영향을 보였으나 ‘정보 가치 공감’, ‘정보 신뢰 공감’은 유의한 영향을 보이지 않았으며, 인플루언서 공감이 시청자의 행동 의도에 가장 큰 영향을 주었다는 것이 확인되었다. 넷째, 이스타 TV 정보 공감 요인이 시청자 행동의도에 미치는 영향에 있어 인플루언서 공감의 매개역할 분석 결과 인플루언서 공감은 ‘정보 내용 공감’, ‘정보 만족 공감’과 행동의도 관계에서 부분 매개 효과가 있는 것으로 확인되었다. 이는 이스타 TV 정보 공감 요인 중 ‘정보 내용 공감’, ‘정보 만족 공감’이 시청자 행동의도에 직접적인 영향을 미치는 것보다 ‘정보 내용 공감’, ‘정보 만족 공감’이 인플루언서 공감에 영향을 미치고, 인플루언서 공감이 시청자 행동의도에 영향을 미칠 때 시청자 행동의도가 더욱 강해진다고 볼 수 있다. 본 연구 결과는 유튜브에서 정보 공감에 대한 시청자 행동의도를 이해하는 데 기초자료로 활용될 것이다. Amid changes in media, advancements in the internet, the widespread use of smartphones, and an environment centered around social networking sites (SNS), users are consuming content without time and space constraints. Platforms like YouTube, an SNS for videos, provide viewers with an environment to freely watch and share content. Users have evolved from mere consumers of videos to broadcasters themselves. YouTube viewers express their appreciation for content by 'liking', commenting, and subscribing, which, in turn, influences the video choices of other viewers. This study aims to investigate the impact of viewer empathy towards the content provided by ESTAR TV, a YouTube soccer entertainment channel, on viewer behavioral intentions, and the mediating role of influencer empathy in this process. To this end, 508 surveys were analyzed using SPSS 27.0, conducting factor analysis, reliability analysis, correlation analysis between variables, regression analysis, and mediating regression analysis. The results showed, firstly, that the factors of ESTAR TV information empathy were identified as 'information trust empathy', 'information value empathy', 'information content empathy', and 'information satisfaction empathy'. Secondly, all factors of ESTAR TV's information empathy positively influenced influencer empathy, with 'information value empathy' having the most significant impact. Thirdly, the analysis of the impact of ESTAR TV's information empathy and influencer empathy on viewer behavioral intentions revealed that 'information content empathy', 'information satisfaction empathy', and 'influencer empathy' positively influenced viewer behavioral intentions, while 'information value empathy' and 'information trust empathy' did not show significant impacts. Influencer empathy had the most significant impact on viewer behavioral intentions. Fourthly, in analyzing the mediating role of influencer empathy in the impact of ESTAR TV's information empathy factors on viewer behavioral intentions, it was found that influencer empathy partially mediated the relationship between 'information content empathy', 'information satisfaction empathy', and behavioral intentions. This suggests that the influence of 'information content empathy' and 'information satisfaction empathy' on viewer behavioral intentions is stronger when they impact influencer empathy, which in turn influences viewer behavioral intentions. The results of this study can serve as a basis for understanding viewer behavioral intentions towards information empathy on YouTube.

간접광고(PPL)의 차별적 규제에 대한 일반 시청자 인식 : Viewers’ perception of indirect advertising discriminatory regulation

천현숙(Hyun Sook Chun),마정미(Jung Mi Ma) 한국광고PR실학회 2021 광고PR실학연구 Vol.14 No.1

일반 시청자들은 과연 간접광고에 대해 어떤 생각을 하고 있을까? 이 의문을 해결하기 위해 실시간 설문조사를 해보았다. 조사 결과, 시청자들은 간접광고에 대해 잘 알고 있었고 주목해 보고 있었다. 그러나 시청자들은 간접광고를 불편하게 느끼고 있었다. 시청자들은 간접광고 자체에 대해서 뿐만 아니라 간접광고 규제에 대해서도 잘 알고 있었다. 지상파방송에 더 엄격한 간접광고 규제를 완화해야 한다고 답하였다. 절반 가까운 시청자가 그렇게 답하였다. 시청자가 지상파방송 간접광고 규제 완화 시 우려하고 있는 것은 프로그램의 선정·폭력성, 공공성 약화, 유료방송에 대한 부정적 영향이었다. 그러나 이러한 우려에도 불구하고 지상파방송 간접광고 규제를 완화해야 하는 이유로 꼽은 것은 방송 광고 시장 활성화, 형평의 원칙, 시장경제 원리, 탈규제의 세계적 흐름이었다. 반대로 지상파방송 간접광고 규제를 완화하지 않고 계속 유지할 경우 시청자들의 우려는 방송사들의 경쟁력 약화였다. 그러나 이러한 우려에도 불구하고 지상파방송 간접광고 규제를 완화하면 안 되는 이유로 꼽은 것은 시청자 주권, 균형 발전이었다. 시청자들이 지상파방송 간접광고 규제 완화 조건으로 생각하는 것은 간접광고 수익을 방송 프로그램 질 올리는 데 투자하는 것, 시청 흐름에 방해되지 않게 자연스러운 장면에 간접광고가 노출되는 것이었다. 시청자들이 광고 수익 투자 우선순위로 꼽은 것은 공익 프로그램 제작 확대, 프로그램 질 제고, 시청자 모니터링과 피드백 강화였다. 방송산업의 경쟁력 강화와 균형적 발전, 디지털 기술 등에 대한 투자는 그 다음 순위였다. 시청자들은 지상파방송 간접광고 규제를 어느 정도까지 완화해야 한다고 생각하는 것일까? 시청자들의 선택은 프로그램 시간의 6%였다. What are viewers thinking about indirect advertising? To solve this question, I did a real-time survey. As a result of the survey, viewers were well aware of and paying attention to indirect advertising. However, viewers were feeling uncomfortable with indirect advertising. Viewers were not only familiar with indirect advertising itself, but also about indirect advertising regulations. They replied that stricter regulations on indirect advertising should be relaxed for terrestrial broadcasting. Nearly half of the viewers answered so. What viewers are concerned about when deregulation on indirect advertising on terrestrial broadcasting is increasing violence, weakening of publicity, and negative effects on paid broadcasting. However, despite these concerns, the reasons for deregulation of indirect advertising on terrestrial broadcasting were revitalization of the broadcasting advertising market, the principle of equity, the principle of market economy, and the global trend of deregulation. On the contrary, if the regulations on indirect advertising for terrestrial broadcasting were not relaxed and maintained, viewers concerns were weakening of broadcasters competitiveness. However, despite these concerns, the reason why the regulation of indirect advertising on terrestrial broadcasting should not be relaxed was the sovereignty of viewers and balanced development. What viewers think as a condition for deregulation of indirect advertising on terrestrial broadcasting is to invest in indirect advertising revenue to improve the quality of broadcast programs, and to expose indirect advertising to natural scenes so as not to interfere with viewing flow. The top priority for investing in advertising revenue was to expand the production of public programs, improve the quality of the program, and strengthen viewer monitoring and feedback. Reinforcement of the competitiveness of the broadcasting industry, balanced development, and investment in digital technology were ranked next. To what extent do viewers think they should ease the regulation of indirect advertising on terrestrial broadcasting? Viewers choice was 6% of the program time.

`놀이`로서의 TV드라마 시청 방식 고찰

윤석진 ( Yun Suk Jin ) 한국언어문화학회(구 한양어문학회) 2012 한국언어문화 Vol.0 No.47

The study shows the results on the method of viewing TV dramas as play by analysing opinions posted on internet cafes or blogs centering on the three miniseries showing off high viewer ratings in the early 2000s when the internet-based media environment began growing in earnest. According to the results, Korean viewers tended to enjoy TV dramas in a way of being immersed or involved in a dramatic situation by sharing characters` feelings. That is, they watched TV dramas by actively participating in the reality of TV drama or showing a critical attitude towards the program. Such a viewing method could be considered `play` departed from ordinary or real life in that it is a voluntary action, not complying with any instructions. Viewers have watched TV dramas to find out imaginative pleasure which could not be obtained in their ordinary life, which is similar to the attitude of the audience enjoying Korean traditional dramatic arts. `TV viewers`, in common with `the audience` of Korean traditional dramatic arts, have been directly or indirectly involved in the drama text by playing a leading role of creating meaning of the text. The involvement of TV viewers in the drama text has been activated since the early 2000s when the internet reached the stage of commercialization. Two-way communication, one of digital media features, has brought in the active involvement of TV viewers in the drama text to start `viewing TV dramas` as `play` in earnest. Meanwhile, the method of `viewing TV dramas` as `play` has shown diverse aspects depending upon the attitude of viewers which varies with genres. The attitude of TV drama viewers certainly varied with genres, which means the play method of TV viewers could be diversified upon drama genres. Even if the attitude of viewers are diverse upon genres, it doesn`t mean adhering to a certain way of viewing TV dramas. On the whole, the recent TV dramas tend to be mixed with the characteristics of each genre, breaking away from sticking to a pure blood genre, for getting high viewer ratings. In addition, TV viewers have tended the mixing of genres for granted in order to relieve or heighten dramatic tension under the full recognition of `genre`, a clue to informing them of the general mood and composition of TV drama. However, whatever the case, it was certain that TV viewers has enjoyed a dramatic situation and created a new meaning and pleasure for themselves by departing from their current life.

올라퍼 엘리아슨(Olafur Eliasson) 작품에서 관람자와 작품의 상호관계

박성연 한국기초조형학회 2017 기초조형학연구 Vol.18 No.2

This paper focuses on how Olafur Eliasson makes interrelations and interacts with viewers. Eliasson is known for his experimental installations, which deal with a broad range of subjects such as scientific phenomena. His installations allow viewers to not only observe but also to be a part of the scenery, which marks the completion of his work. Therefore, it is clear that Eliasson leads viewers to become involved in his work. This paper delves into the interrelations between viewers and his work. First of all, his main purpose is that various experiences and perceptions are produced when viewers encounter his work. Secondly, illumination with vivid color, time, and movement are the basic elements that he has used throughout his works. Moreover, he creates artificial nature by relocating natural elements such as water, fog and moss as well as immaterial factors into the gallery space. This contributes to embodying the virtual image in a physical space. Last but not least, he makes use of the reflection of the optical materials, such as mirror and glass, to create changes in light and movement. This enables viewers to have their own perception and self-awareness between themselves and their surroundings. Likewise, the experience of viewers is fundamental and is one of the most important contexts in contemporary art. By stressing the interrelation between the perceptual experience of viewers and his work, he focuses on creating new meanings through diverse interpretations among the viewers. Above all, his work depends entirely on the viewers' contribution to the completion of his work. His work encourages viewers to respond to familiar yet different situations and has a new understanding of artwork as a medium of interaction. In this context, he produces not only replicas of nature but new contemporary phenomena. 본 연구는 현대미술에서 가장 주목받는 작가 중 하나인 올라퍼 엘리아슨(Olafur Eliasson) 작품의 주요 특징인 작품과 관람자와의 상호작용/소통/관계를 그의 작품을 통해 밝히는데 목적을 두고 있다. 엘리아슨은 예술 외 타학제와 협업을 통해 철학, 과학 등으로 확장된 폭넓은 예술세계를 보여주고 있다. 그의 작품에서 관람자는 예술 작품을 존재하게 하는 가장 중요한 요소이며, 관람자가 작품과 마주했을 때 발생하는 다양한 의미와 경험들이 작품의 주요 의도라고 볼 수 있다. 일련의 그의 전시 제목에서 볼 수 있듯이 “You”는 작품을 응시하고 있는 관람자를 의미한다. 본 연구는 그의 작품이 관람자의 경험을 중요시한다는 전제하에 그의 작품을 설명하였다. 첫째, 그의 작품은 놀이 개념으로서의 상호관계를 이끌어낸다. 그것은 다음에 열거하는 특징들에 의해 가능하다. 둘째, 그의 작품에서 가장 기본적인 요소는 빛, 색, 시간, 관람자의 움직임이다. 빛과 색으로 충만한 공간에 관람자가 들어섰을 때의 감각경험과 관람자의 움직임 으로 인해 소요되는 시간까지 작품에 개입하게 된다. 셋째, 그의 작품은 일상공간에 낯선 자연풍경을 제시한다는 점이다. 그는 물, 안개 등 실제 자연요소를 낯선 공간에 위치시키거나 인공조명을 통해 유사자연(artificial nature)을 창조해 낸다. 마지막으로, 거울이나 유리처럼 반사 재료를 사용한다는 점을 그의 작품의 특징으로 들 수 있다. 반사매질을 이용해 공간 안에 변화하는 빛과 움직임을 만들어낼 뿐 아니라, 거울을 통해 관객의 자기인식을 가능하게 한다. 이처럼 그의 작품은 관람자의 경험이라는 현대미술의 중요한 맥락과 맞닿아 있다. 그는 관람자의 신체적 지각경험을 강조하며 이것이 작품과 촘촘하게 연결되어 다양한 의미를 창출하는데 초점을 두고 있어서 그의 작품의 중심에는 관람자가 있음을 알 수 있게 만든다. 결국 그가 추구하는 바는 하나의 완결된 작품 제작보다 관람자가 만들어내는 소통의 다양성이며, 또한 관람자가 익숙하면서도 낯선 상황에 반응하여 소통의 매개체로서 예술의 역할을 재인식하도록 한다. 하나의 완결된 작품 제작보다 다양성을 갖는 관람자의 소통에 더욱 중점을 두어, 관람자가 익숙하지만 낯선 상황에서 반응하여 소통의 매개체로서 예술의 역할을 재인식하도록 만든다. 이런 점에서 그의 작품은 일상적인 자연풍경이 아닌 새로운 현대적 풍경을 제시한다고 할 수 있다.

다매체 시대 HDTV드라마의 특징 고찰 -<돌아온 일지매>의 영상미를 중심으로

윤석진 어문연구학회 2009 어문연구 Vol.62 No.-

The era of multimedia is fundamentally changing the existence of TV dramas. In particular, the fusion of broadcasting and communication based on two-way communicative digitalization requests changes in the production and viewing of TV dramas that has been unilaterally realized. The viewing patterns that have gone beyond limitations of time and space through facilitated Internet re-watching service and DMB will request change from narrative techniques of TV dramas focused on Repeat and Reiteration to visual image based on Concentration and Condensation. In addition, IPTV that combines broadcasting with communications will become a basis for satisfying viewers’ desires to take part in the production of TV dramas in a real-time. In this regard, if it is impossible to depart from past practices in rapidly changing media environment, TV dramas will not get out of existing prejudice that views them as One-Off Entertainment and fail to be recognized as a genre of arts. Against this backdrop, the study examined the characteristics of TV dramas in the multimedia era centering around the beauty of image of 'Iljimae Returned', an HDTV drama. As a result, it reached two significant conclusions. First, the beauty of image was realized in a 16:9 wide screen based on advantages of HDTV cameras through double frame shot. Second, communications and participation were pursued in the digital era not only through dialogues between a narrator and characters but also through dialogues between a narrator and viewers. The two significant conclusions request change in perception on the customary expression of images of TV dramas while providing a chance to give a deep thought into the mode of existence of HDTV dramas as a genre of arts in the multimedia era. Although 'Iljimae Returned' succeeded in realizing the beauty of image befitting a 16:9 wide image and brought about changes in the angle of cameras and the size of shots, its viewing rate was not that high. In particular, it induced viewers’ participation through diversified dramatic mechanisms that enable communications with viewers, but it could not communicate with viewers failing to overcome the limitations of the HD drama 'Iljimae Returned'. It would take time for viewers accustomed to close-up shot mostly used in the 4:3 TV screen to accept the image that accentuates the advantages of HDTV cameras. However, the significance of 'Iljimae Returned', a HD drama that explored a new beauty of image in the multimedia era cannot afford to be belittled. In order to properly realize the characteristics of HDTV dramas, it is necessary to change perception on the image of TV dramas as visual arts that are appreciated in daily life. The era of multimedia is fundamentally changing the existence of TV dramas. In particular, the fusion of broadcasting and communication based on two-way communicative digitalization requests changes in the production and viewing of TV dramas that has been unilaterally realized. The viewing patterns that have gone beyond limitations of time and space through facilitated Internet re-watching service and DMB will request change from narrative techniques of TV dramas focused on Repeat and Reiteration to visual image based on Concentration and Condensation. In addition, IPTV that combines broadcasting with communications will become a basis for satisfying viewers’ desires to take part in the production of TV dramas in a real-time. In this regard, if it is impossible to depart from past practices in rapidly changing media environment, TV dramas will not get out of existing prejudice that views them as One-Off Entertainment and fail to be recognized as a genre of arts. Against this backdrop, the study examined the characteristics of TV dramas in the multimedia era centering around the beauty of image of 'Iljimae Returned', an HDTV drama. As a result, it reached two significant conclusions. First, the beauty of image was realized in a 16:9 wide screen based on advantages of HDTV cameras through double frame shot. Second, communications and participation were pursued in the digital era not only through dialogues between a narrator and characters but also through dialogues between a narrator and viewers. The two significant conclusions request change in perception on the customary expression of images of TV dramas while providing a chance to give a deep thought into the mode of existence of HDTV dramas as a genre of arts in the multimedia era. Although 'Iljimae Returned' succeeded in realizing the beauty of image befitting a 16:9 wide image and brought about changes in the angle of cameras and the size of shots, its viewing rate was not that high. In particular, it induced viewers’ participation through diversified dramatic mechanisms that enable communications with viewers, but it could not communicate with viewers failing to overcome the limitations of the HD drama 'Iljimae Returned'. It would take time for viewers accustomed to close-up shot mostly used in the 4:3 TV screen to accept the image that accentuates the advantages of HDTV cameras. However, the significance of 'Iljimae Returned', a HD drama that explored a new beauty of image in the multimedia era cannot afford to be belittled. In order to properly realize the characteristics of HDTV dramas, it is necessary to change perception on the image of TV dramas as visual arts that are appreciated in daily life.

관람자 내러티브를 활용한 인터랙티브 텍스트 콜라주 창작 연구

임수연 국제문화기술진흥원 2022 The Journal of the Convergence on Culture Technolo Vol.8 No.4

Contemporary viewers familiar with the digital space show their desire for self-expression and use voice, text and gestures as tools for expression. The purpose of this study is to create interactive art that expresses the narrative uttered by the viewer in the form of a collage using the viewer's figure, and reproduces and expands the story by the viewer's movement. The proposed interactive art visualizes audio and video information acquired from the viewer in a text collage, and uses gesture information and a natural user interface to easily and conveniently interact in real time and express personalized emotions. The three pieces of information obtained from the viewer are connected to each other to express the viewer's current temporary emotions. The rigid narrative of the text has some degree of freedom through the viewer's portrait images and gestures, and at the same time produces and expands the structure of the story close to reality. The artwork space created in this way is an experience space where the viewer's narrative is reflected, updated, and created in real time, and it is a reflection of oneself. It also induces active appreciation through the active intervention and action of the viewer. 디지털 공간에 익숙한 동시대 관람자들은 자기표현 욕구를 드러내며 의사표현 도구로 음성, 텍스트와 제스처를 많이 이용한다. 본 연구의 목적은 발화한 관람자의 내러티브를 관람자의 모습을 이용하여 콜라주 형식으로 표현하고, 관람자의 움직임에 의한 스토리를 재생산하고 확장하는 인터랙티브 아트의 창작이다. 제안된 인터랙티브 아트는 관람자로부터 획득한 음성, 영상 정보를 텍스트 콜라주로 시각화하고, 제스처 정보와 자연스러운 사용자 인터페이스(Natural User Interface)를 이용하여 쉽고 간편하게 실시간으로 상호작용하며 개인화된 감정을 표현할 수 있도록 한다. 관람자로부터 획득한 세 가지 정보는 서로 연결되어 관람자의 현재 일시적 감정을 표출한다. 텍스트의 경직된 내러티브는 관람자의 초상 이미지와 제스처를 통하여 약간의 자유도를 가지게 되고, 동시에 현실과 밀착된 스토리의 구조를 생산하고 확장해간다. 이렇게 창조된 작품 공간은 실시간으로 관람자의 내러티브를 반영하고 갱신되며 창작되는 체험 공간이며, 자신의 반영이다. 또한 관람자의 능동적인 개입과 행위를 통해 적극적인 감상 행위를 유도해낸다.

아시안게임 e스포츠 시청자의 몰입, 즐거움, 시청자반응의 구조적 관계

서재열 한국골프학회 2023 골프연구 Vol.17 No.-

[목적] 이 연구는 최근 치러진 항저우 아시안게임에서 정식종목으로 채택된 e스포츠에 대한 시청자의 몰입, 즐거움, 시청자반응의 구조적 관계를 분석하여 스포츠종목으로 인정받은 e스포츠의 대중화 가능성을 파악하기 위한 기초자료를 제공하는데 목적을 두고 연구를 진행하였다. [방법] 이를 위해 항저우아시안게임 e스포츠일정에 맞춰 2023년 9월 24일부터 10월 1일까지 치러진 경기를 시청한 시청자를 모집단으로 설정하고 10월1일부터 10월 15일까지 경기를 시청한 시청자를 대상으로 온라인 설문조사를 실시하여 300부 데이터를 확보하고 분석에 활용하였다. [결과] 첫째, 아시안게임 e스포츠 시청자의 몰입은 즐거움에 정적영향을 미치는 것으로 나타났다. 둘째, 아시안게임 e스포츠 시청자의 몰입은 시청자 반응에 정적영향을 미치는 것으로 나타났다. 셋째, e스포츠시청자의 즐거움은 시청자반응에 정적영향을 미치는 것으로 나타났다. [Purpose] This study was conducted with the aim of providing basic data to understand the possibility of popularization of e-sports recognized as a sports event by analyzing the structural relationship between viewer immersion, enjoyment, and viewer response to e-sports adopted as an official event at the recently held Hangzhou Asian Games. [Method] To this end, viewers who watched the game from September 24 to October 1, 2023 in line with the Hangzhou Asian Games e-sports schedule were set as the population, and an online survey was conducted for viewers who watched the game from October 1 to October 15 to secure 300 copies of data and use it for analysis. [Result] first, it was found that the immersion of e-sports viewers at the Asian Games had a positive effect on enjoyment. Second, it was found that the immersion of e-sports viewers at the Asian Games had a positive effect on viewer response. Third, it was found that the enjoyment of e-sports viewers had a positive effect on viewer response.

TV드라마의 인공지능 로봇 재현에 대한 시청자 반응 연구 ― 디시인사이드 〈너도 인간이니?〉 게시판을 중심으로 ―

박정아(Park, Jeoung Ah) 가톨릭대학교(성심교정) 인간학연구소 2020 인간연구 Vol.0 No.40

본 연구는 텔레비전 드라마 속에 등장한 인공지능 로봇에 대한 시청자들의 반응을 살펴본 수용자 연구이다. 분석 대상으로 KBS2 〈너도 인간이니?〉를 선정하였고, 인터넷 커뮤니티 사이트 중에서 시청자들의 의견이 활발하게 공유되고 있는 디시인사이드의 〈너도 인간이니?〉의 게시판에 올라온 241개 게시글을 분석하여 세 가지로 범주화 하였다. 가장 많은 시청자 게시글은 인공지능 로봇에 대한 부정적 인식으로, 인간보다 월등한 신체적 조건과 인간의 이성과 감성을 지닌 로봇에 대하여 두려움과 냉소적 반응을 드러냈다. 드라마 가 로맨스 장르임에도 불구하고 로봇과 인간 사이의 애정 서사와 인간을 대체하는 로봇의 설정에 대해서도 반감을 표현했다. 이와는 반대로, 두 번째로 많은 시청자 게시글 부류는 로봇 재현에 대해 긍정적인 반응을 보였다. 로봇과 인간 사이의 멜로 서사를 공감하고 인간의 대용품으로 등장하는 남신Ⅲ에 대한 연민을 표현하며 인간보다 더 인간적인 로봇캐릭터에 호의적인 반응을 보였다. 세 번째 시청자 의견은 로봇을 통해 인간성과 인간다움의 의미를 되짚어보며 AI 시대를 맞이하는 자세에 대해 공유하고 있었다. 〈너도 인간이니?〉에 대한 시청자 의견을 종합하면, 시청자들은 드라마를 수용하는데 AI에 대한 비관적인 사회적 담론에서 많은 영향을 받고 있는 것으로 드러났다. 로봇이 인간을 대체할 수 있다는 위기감은 로봇 캐릭터에게 반감을 갖게 하는 요인이었다. 또한 시청자들은 미래사회에 대한 불안을 표현하는 동시에 AI로 야기되는 문제를 로봇에게 전가하지 않고 인간존재가 무엇인지 성찰하고 있었다. 호의적인 의견을 보인 시청자들 또한 AI에 대한 부정적 인식으로부터 영향을 받고 있었는데, 이들의 로봇 캐릭터에 대한 호감은 인간보다 열등한 존재로 인식하는 안도감의 표현이었다. This article examines the reaction of viewers to artificial intelligence(AI) robots in television dramas. The show Are You Human? [Television series] was selected for the study, and we analyzed 241 posts on the bulletin board of Are You Human? of DCInside, where viewers" opinions are actively shared among online community members. The viewers" opinions on the AI robots in Are You Human? were classified into three categories: negative, positive, and introspective. The most major opinion among the viewers" posts majority-held was a negative view of AI robots. Many audience members expressed fear and cynicism to the emergence of robots having the ability of reason, superior physical condition and human emotion the. Despite the fact that Are You Human? Is a romance genre drama, audiences also expressed their disapproval of the melodramatic narrative between robots and humans the plotline of preparing. In contrast, the second largest number of comments were positive toward the representation of robots and the romantic narrative in the program between robots and humans. These viewers felt compassion for Nam Shin Ⅲ as a human substitute, and responded favorably to robots who performed better than humans were more the. In the last category, viewers best with which reflected on humanity through the robots represented in the drama and shared how to face the era of AI. Looking at viewer’ responses to Are You Human? as a whole, most were heavily influenced by the pessimistic social discourse about AI. The fear that robots may replace humans creates a crisis for the viewer, and becomes a factor in their antipathy to the robot character. The viewers also expressed their anxiety about the future of society, while reflecting on the meaning of humanity. Viewers with positive opinions were also affected by the negative perceptions of AI. Although they expressed a positive attitude towards the robot character, the fact that robots were still inferior to humans gave them a sense of security. At the same time, they did not reflect on the problems AI presents to robots or on what defines a human being. Looking at as a whole fear may creates a crisis for the viewer, and The also of positive by expressed the fact that robots were still inferior to humans gave them. At the same time, they did not reflect on the problems AI presents to robots or on what defines a human being.