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Chinese Culture Circle is the world with Chinese characteries as media and has the same value system. Chinese culture circle of East Asia refers to the countries and of east Asia such as China, Korea, Japan, Vietnam and so on, This paper mainly focus on and conduct analysis and research on China, South Korea, and Japan, three representative countries in the East Asian Chinese character circle. It is committed to combining the experience advantages of the cultural industries of these three countries to propose a Chinese character cultural industry. The targeted countermeasures will make a contribution to promoting the development of the Chinese character culture industry in practice in the vast number of countries in the East Asian cultural circle. Although China, South Korea, and Japan in the East Asian cultural circle are all belong to the field of Chinese character culture and have many similarities in culture, there are great differences in the way of using Chinese characters. Therefore, for the development of the Chinese character culture industry, countries in the Chinese character culture circle should make efforts in four aspects. In view of the above policies, efforts should be made for the revitalization and development of the Chinese character culture industry according to the actual situation of each country. Humans have language, and language is the most basic information. Since modern times, some Chinese scholars have followed Saussure's erroneous theory. It is hoped that from now on, China and all countries in the East Asian Chinese character culture circle can fundamentally continue to establish and further strengthen the character confidence and even cultural confidence in our East Asian script circle. Lu Jianming believes that global integration makes language an intangible resource that plays an increasingly important role in national economy and security.

디지털 시대의 새로운 사회가 다가오면서 역사의 지식과 IT기반지식을 공유하는 분야가 디지털콘텐츠에 관련된 학문이라고 생각된다. 21세기는 축적된 지식과 관련학문을 접목시켜 지식 기반사회에 필요한 내용을 창출해 내는 창조적인 지식문화 생산을 목표로 삼고 있다. 디지털 문화시대에는 수용자 특성에 따른 콘텐츠 발상은 매우 중요해 졌다. 특히 문화적 특성과 수용자특성에 맞는 콘텐츠를 개발하기 위해서는 콘텐츠 발상 프로세스의 필요성이 요구된다. 따라서 문화산업의 범위와 역할, 그리고 이를 수용할 수 있는 콘텐츠 수용자들의 기호에 맞게 콘텐츠를 개발할 수 있고, 표준화 작업이 가능하도록 하는 발상프로세스의 학문적인 연구를 하게 되었다. 본 연구는 문화의 원천소스를 문화산업으로 전환시킬 수 있도록 발상프로세스에 적용하여 자신이 만들고자 하는 원소스멀티유스(OSMU)의 콘텐츠를 효과적으로 개발할 수 있는 콘텐츠발상프로세스를 개발하는데 있다. 또한, 새로운 콘텐츠를 원하는 수용자의 패턴과 성향에 맞도록 개발하는 표준화를 찾아서 프로세스의 모형 틀에 적용할 수 있게 하는 것이 본연구의 내용이다.

With the advent of the digital era, the fields where historic knowledge and IT-based knowledge are shared seems to be related to digital contents. The 21st century aims at the production of originative knowledge cultures capable of creating necessary contents for the knowledge-based society by combining accumulated knowledge with the relevant sciences. Content creation taking into account the characteristics of users is more crucial in the digital era. Especially, to develop suitable contents for cultural features and consumer characteristics, the strategic processes of content creation are required. Thus, this study was attempted to investigate into such processes intended to develop and standardize appropriate contents for the range and roles of the culture industry, and the tastes of content users. This study aimed to develop content creation processes which enables to develop effectively desired One Source Multi-Use (OSMU) contents so that the source of culture can be converted into the culture industry, and additionally, to standardize such the processes appropriately for the traits and patterns of users desiring new contents so that they can be applied to the model framework.

Entering 21st century, “internet” has already become a word attracting the biggest attention over the world. .This is reflecting new characteristics of the era, and it means that we can share process and culture of the world’s industrial development in the same space in the back ground of internet. The newly rising term “internet plus” represents diverse types of industry combined with internet, and the existing industrial development through the internet has induced development strategies and policies with new characteristics. Utilizing internet platform and info-communication technology, “internet plus” is a strategy to create a new ecosystem for economic progress through integration of every industry with internet, and it represents a new paradigm of economic progress in China. Chinese cultural industry, which was emphasized from the year 2000, is continuing its rapid progress. This was possible through the interactive combination via internet platform, which implies that the culture plays the key role of economic & social progress in the era of internet plus. Especially, various fields of cultural industry such as film, animation, video games, cartoons, and travel are exercising major influence via internet on Chinese culture’s emerge into international market. Internet plus culture industry is an important measure to build a new growth engine for national economy by total confusion of service industries such as cultural, creative, and design services into real economy. In the process, leading enterprises in China will form industrial chain in cultural field through internet, make their own professional platforms to dominate and supply their outstanding contents resources, and continue their growth as more competitive enter prises. Furthermore, this will work as a major engine to encourage globalization of Chinese culture products.

결혼이라는 개인의 문화적 이벤트가 한류 열풍과 접목되어 한류 웨딩 산업이라고 하는 산업적 토대를 구축하고 있다. MBC방송사의 '우리 결혼했어요' 라는 가상 결혼 프로그램이 아시아 여러 국가에 방송 송출 되면서 경제력을 갖춘 아시아인, 특히 중국의 예비부부들이 한국의 웨딩 상품을 선호하여 찾아오고 있는 실정이다. 웨딩 한류는 방송 콘텐츠의 파급력과 맞물려 차세대 성장 동력으로 진화하고 있으며 확장성을 넓히면서 국내 예비부부 유입을 통한 시장성을 창조적으로 넓혀가고 있다.

One of the individual cultural events called a wedding has integrated into Korean Wave, having built industrial foundation for Hallyu wedding industry. As a virtual marriage program, We Got Married, aired on MBC Korean Broadcasting Company is being broadcasted in many Asian countries, Asians having economic power, especially soon-to-be married couples in China, favor wedding commodity of South Korea and visit the country. The wedding hallyu has been evolving as a next-generation growth engine, coinciding with ripple effects of broadcasting contents, and expanding marketability creatively through the influx of soon-to-be married couples at home by expanding the expandibility of wedding hallyu.

문화는 이제 넓은 의미의 ‘삶의 방식’이나 좁은 의미의 ‘예술적 활동’이 아닌 경제적 기반으로서 역할을 한다. 그에 따른 문화예술 활동은 도시 경쟁력 관점에서 지역 내로서의 투자유도, 고용창출, 관광객유치, 소득증가 등 효과를 찾을 수 있다. 또한 이것은 도시마케팅 측면으로도 설명될 뿐 아니라 장기적으로 도시의 생산성의 증대라는 결과를 가져올 수 있다. 문화 예술은 소비자들을 끌어당겨 지역의 경제적 활력을 제공하기 때문이다. 지역 문화 예술 산업이 지역발전에 매우 중요한 축으로 자리매김하면서 지역 내 관련 산업들과 연관효과를 제공하며, 고용창출, 지역장소 랜드마크 마케팅 촉진 및 지역이미지 부각, 지역주민의 삶의 질 향상과 지역사회의 혁신을 높인다. 따라서 본 연구에서는 지역 활성화 전략으로 부산의 문화 자원 현황과 문제점을 분석, 그 결과에 근거하여 문화 예술을 통한 지역발전을 제안한다. 부산시의 도시브랜드 활성화를 위해 도시의 개발이나 확장보다는, 도시전반의 커뮤니케이션을 위한 소프트웨어적인 전략을 구축할 필요가 있다. 본 연구에서는 무형의 랜드마크 요소를 4M2S IPOC Matrix의 방법을 통해 도출하여 이를 도시 문화 예술 산업에 적용하여 분석하였다. 그 결과 '문화의 거리' ‘전통문화 자원을 바탕으로 한 축제’ 등 문화 예술을 기반으로 한 발전방안을 제시하고자 ‘동래학춤’과 ‘동래야류’를 통한 축제 그리고 해운대 달맞이고개에 밀집된 화랑을 중심으로 ‘달맞이 문화의 거리’ 조성을 제안하였다.

Culture now has played a role of the economic base rather than “way of life” in the broad sense and “art activities” in the narrow sense. Culture and Art can give the effect of encourage investment in the region, job creation, attracting tourists and increase income from the point of view of city competitiveness. And this is not only be explained in terms of marketing the city, it results in a increase in the productivity of the city. Because Culture and Art which attract consumers provide the economic vitality of the region. Local Culture and Art is positioned as the axis very important to the development of the region, and driving the growth of the local economy. It provides the industry linkage effect with related industries in the region, job creation effect, promotion the landmark marketing of the region, development of regional image, improve the quality of life of local residents and increase the innovation of local community. Therefore, in this study, for community revitalization strategy, analyze the current state of cultural resources of Busan and analyze the problem at the same time, and provide the development of the region through Culture and Art. For city brand activation of Busan Metropolitan City, there is a need to build a software strategy of city-wide communications rather than city’s development and expand. Applied in the city 4M2S IPOC Matrix way through derived intangible landmark elements. Therefore for suggestion a development plan based on “Culture and Art” such as “cultural streets” and “festival which is based on traditional cultural resources”, proposed “the dance of a crane and Dongnae Yaryu festival in Dongnae district” and “making cultural streets of viewing the moon” around many galleries in the viewing the moon hill of Haeundae.

이 글의 목적은 콘텐츠산업에 문화예술을 적용함에 있어 문화예술에 기 반 한 새로운 문화콘텐츠의 모델에 대한 대안 모색을 통해 문화예술과 문 화콘텐츠산업의 융합을 통한 발전방안을 제시하려는데 있다. 이러한 목적 달성을 위해 우선 경제적 생산 활동과 문화적 예술 활동과의 상관관계에 대한 규명을 통해 문화 활동은 경제 활동을 포함하거나 전환된 구조로 드러나게 된다는 점에서 문화예술 이 생산성이 있음을 보이고자 한다. 이를 통해 문화산업은 유·무형의 고부가가치를 창출하는 성장산업으로 미래 의 국가경쟁력 제고에 기여하는 바가 매우 큰 산업이라는 점에서 문화예 술 융합콘텐츠는 우리 경제를 좌우할 정도의 고부가가치산업으로서 확대 될 것이며, 21세기 핵심기반산업으로 자리 잡을 수 있음을 보이고자 한다. 또한 지역 문화예술콘텐츠 산업의 활성화는 국가 경쟁력과 직결되는 문제 인 만큼 보다 체계적이고 조직적인 접근이 요구된다는 측면에서 지역 문 화예술콘텐츠산업의 활성화를 위해 지속가능한 문화예술 사업화 기반 마 련의 당위성을 제시하고자 한다. 이러한 논의를 토대로 궁극적으로는 우 리나라 미래의 발전과 서비스 시대라는 시대적 흐름에 따른 산업적 차원 을 전제로 문화예술에 기반 한 지역 미래융합산업에 대한 비전에 대해 제 시하려는데 있다.

By applying the cultural arts in the content industry, and to seek an alternative to the model of the new cultural content on the basis of culture, the arts, the purpose of this article is to present the development strategy through the fusion of cultural contents industry culture and art further is expected. From the viewpoint in order to achieve this goal, through elucidation of the correlation between the cultural and artistic activities and economic production activities, cultural activities is that it includes economic activity first, show that there is a productivity of culture and art I will be the cornerstone. In addition, the cultural industry is a industry where it contributes to the improvement of national competitiveness in the future growth industries to create high added value of intangible existence, is very large. So, fusion content of arts and culture, is expanded as a high value-added industry enough to left and right our economy, it is positioned as an important core industry of the 21st century. In addition, activation of the content industry of culture and art in the region are required to have systematic approach, organizational than just a problem directly connected to the national competitiveness. As a result, you will have to prepare the foundation for a sustainable cultural and artistic commercialization for the activation of the content industry of culture and art of the region. Based on these discussions, ultimately, in the light of the trend of the times, it is intended to present a vision of the future fusion local industry based on culture and art.

Revolutionary development of IT (Information Technology) and digitalization has brought rapid evolution of e-culture in business community as well as individuals daily lives. Therefore, the corporate should respond to industry paradigm shift and e-culture to survive.This study is to provide information material on various aspects of e-culture shock to business community and let them gain better understanding on the nature of current environmental change and corporate response patterns. The research objective will be pursued through literature review and empirical analysis. The case study approach and survey method are adopted for empirical study.The research output will contribute to theory development and management practice. The result will help managers how to minimize e-culture shock to achieve the maximum level of operational productivity. And also our study will address the direction of future industrial policy by the government.

The aims of this study is to analyze effects of organizational culture typology on organizational commitment and its mediating effect of empowerment in hotel industry through the structral equation modeling. How the influencing factors of empowerment differentiate between organizational culture typology and organizational commitment. The study adopted a questionnaire method in research of hotel industry in Seoul of Korea. Data were collected from 311 employees for empirical analysis. Technique used in analyzing data was SEM. Amos 24.0 program was applied in the analysis. Variables used in the research are summed up as follows. Influencing variables of organizational commitment, which are an exogenous latent variable, are consisted of developmental culture, rational culture, group culture, and hierarchical culture. Mediating variable is consisted of empowerment. Endogenous latent variable is consisted of organizational commitment. The study itself is consisted of four basic parts. The second chapter addresses the research scales and model for empirical study by reviewing previous related references. In the third chapter, empirical analysis on research models on organizational commitment, focusing on nested and revised models, will be implemented after suggesting methodology and study design for the research. The findings obtained from the analysis is discussed in the fourth chapter, closing with some short concluding remark. In conclusion, a series of causal factors, ie organizational culture typology has significant influence on organizational commitment and its mediating effect of empowerment.

Laver is sea weeds that might have been eaten by Korean people since ancient times. The begining of laver culture is not known exactly, but it appears to be prehistoric age. Some laver culture complexes have been built in southern coastal sea of Korea around 1910. This paper was considered about the origin and development process of Korean laver culture industry by investigating Korean and Asian old books concerned. The results are as follows. 1. According to the Korean old books ralated, the name of laver is classified into 10kinds. Gim and Hae-I were called by Korean. Gim means weeds and Hae-I means the manufactured laver by cutting and drying like paper sheet. Ja-Chae and Hae-Tae are come from Chinese, however they are commonly called by Korean, Japanese and Chinese. Rest six names are come from Chinese botany. 2. As Chinese used laver as medicine for wen, scrofula, fever, vomiting, diarrhoea and. so on, they didn't regard it as foods and took into account an warning by Chinese botany that they could take ill when overeating it. On the other as Korean people have eaten it with pleasure nevertheless the Chinese warning, various foods using laver have been developed. The typical food is rice covering laver sheet. It is also popular to Japanese. 3. Laver culture can be carried out in all coastal seas around Korean peninsula, the best sea area for it is the middle west of south sea. 4. Seopkkoji type is a laver culture method that when branches of tree are put in tidal flat laver sporules are attached and gronm on them. It was begun by Hae-Jak Kun(a group of fishery slaves) on Kwang-Yang bay the most suitable for. laver growth at the beginning of King $Sung-long(1469{\~}1481)$. It is assumed that when Hae-Jak Kun set Oe-Jeon(a sort of fixing fishing gear) to catch tributary fish for king, they could find grown laver attached on Oe-Jeon and invent Seopkkoji type for exclusive laver culture. That was carried out 200 fears earlier than in Japan. Dde-Bal type is more advanced and productive laver culture method with thinly spilt bamboo tied like screen(one end fixed on bottom and other end set free in water), It is assumed that Dde-Bal type was begun in Wan-Do county in King Chull-Jong(1830). All laver culture methods developed were transfered to Japan.

Laver is sea weeds that might have been eaten by Korean people since ancient times. The begining of laver culture is not known exactly, but it appears to be prehistoric age. Some laver culture complexes have been built in southern coastal sea of Korea around 1910. This paper was considered about the origin and development process of Korean laver culture industry by investigating Korean and Asian old books concerned. The results are as follows. 1. According to the Korean old books ralated, the name of laver is classified into 10kinds. Gim and Hae-I were called by Korean. Gim means weeds and Hae-I means the manufactured laver by cutting and drying like paper sheet. Ja-Chae and Hae-Tae are come from Chinese, however they are commonly called by Korean, Japanese and Chinese. Rest six names are come from Chinese botany. 2. As Chinese used laver as medicine for wen, scrofula, fever, vomiting, diarrhoea and. so on, they didn't regard it as foods and took into account an warning by Chinese botany that they could take ill when overeating it. On the other as Korean people have eaten it with pleasure nevertheless the Chinese warning, various foods using laver have been developed. The typical food is rice covering laver sheet. It is also popular to Japanese. 3. Laver culture can be carried out in all coastal seas around Korean peninsula, the best sea area for it is the middle west of south sea. 4. Seopkkoji type is a laver culture method that when branches of tree are put in tidal flat laver sporules are attached and gronm on them. It was begun by Hae-Jak Kun(a group of fishery slaves) on Kwang-Yang bay the most suitable for. laver growth at the beginning of King $Sung-long(1469{\~}1481)$. It is assumed that when Hae-Jak Kun set Oe-Jeon(a sort of fixing fishing gear) to catch tributary fish for king, they could find grown laver attached on Oe-Jeon and invent Seopkkoji type for exclusive laver culture. That was carried out 200 fears earlier than in Japan. Dde-Bal type is more advanced and productive laver culture method with thinly spilt bamboo tied like screen(one end fixed on bottom and other end set free in water), It is assumed that Dde-Bal type was begun in Wan-Do county in King Chull-Jong(1830). All laver culture methods developed were transfered to Japan.

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This study aims to investigate the issues of heritage and innovative design in Hunan bamboo furniture, with a focus on exploring pathways for integrating traditional bamboo craftsmanship with modern design philosophies. By means of a systematic literature review and multiple case analyses, the paper first reviews the development history and cultural connotations of Chinese bamboo furniture, and then examines the major challenges faced in the Hunan region?namely, product homogeneity, outdated design, and lagging production techniques?despite the region’s advantages in bamboo resources. On this basis, the research constructs an innovative design framework centered on ergonomic optimization, spatial adaptability enhancement, and the integration of intelligent technologies, and explores the application effects of novel processes and materials such as integrated all-bamboo molding, bamboo laminate manufacturing, and eco-friendly coatings in the modernization of bamboo furniture. Empirical results indicate that the introduction of new technologies and processes plays a significant role in improving the comfort, functionality, and environmental adaptability of the products, while also providing theoretical support and practical references for the international branding of traditional bamboo furniture. Finally, the study points out that collaborative innovation among government, enterprises, and designers is the key pathway to achieving leapfrogging upgrades in bamboo furniture, thereby offering fresh ideas and strategies for the transformation and development of Chinese traditional craftsmanship in the global market.

In modern times, performing arts have diverged, and various new forms have developed such as musicals, movies, and K-POP. In this study, we re-examine past theatrical styles, tracing the development of the performing arts industry as we know it today. In particular, we examine the commedia dell’ arte that was popular during the early European Renaissance. Commedia dell’ arte was successful in mobilizing and gaining intimacy with audiences by accommodating improvisation, featuring many well-known characters, and inducing curiosity and interest. Today, however, commedia dell’ arte has almost disappeared from the performing arts stage. Several factors affect the ability of commedia dell’ arte to compete in the modern performing arts market; we consider ways to develop this cultural phenomenon in today’s entertainment industry. In particular, we focus on three elements of commedia dell’ arte: masks, improvisation, and system of audience interaction, analyzing their characteristics and their applicability in modern times. Theater, including commedia dell’ arte, has considerable potential as a new visionary industry in the era of the Fourth Industrial Revolution. In the modern global macro environment where homo mobiliance, not homo sapiens, is the mainstream, performing arts of high-quality content is needed in the global culture industry.

This article attempts to investigate how not only the history of the amusement park industry and of film but also the different views of modernity are highlighted in the amusement park scenes presented in Sunrise and The Crowd, two Hollywood films of the 1920s. By comparing andcontrasting the amusement park scenes, this article argues that those scenes reflect the conflicting views of modernity. While Sunrise and The Crowd both present the amusement park as a place that embodies modernity itself,each film sheds light on the different aspects of modernity: in The Crowd, the amusement park scenes emphasize the totalizing and mechanizing effect of modern experience, while in Sunrise the amusement park is portrayed as a place that offers its visitors a sense of liberation and empowerment. Further, the different portraits of the amusement park mirror the different perspectives towards film’s position in the culture industry: can film be as liberating as the early form of the amusement park, or is it just a part of the standardizing system that forces individuals to merge into a large crowd? Reading the amusement park scenes in Sunrise and The Crowd together helps us to revive these questions which were at stake at the time of the early cinema.

Korea's singer, Psy enjoyed a tremendous popularity throughout the world after making a big hit with 'Gangnam style'. Especially, His success in the western was a great honor and joy to Koreans because it was unprecedented and made us feel proud of him. However, after 'Gangnam style', His next songs, 'Gentlemen' and 'Hangover', were just appearing to be repetitions of 'Gangnam style' in various ways. This study is focusing repeated Images in Music Videos of 'Gangnam Style', 'Gentlemen' and 'Hangover'. We all agreed with that the important part of his success was funny images in his Music Videos which is representing Asian men. Nevertheless, they are not identical with typical Asian men, even it is opposition of it, Westerners are so enthusiastic about it. This study started to question about the way they look at Asian men and Which point of Psy's Images made them so exciting. Sight is the most crucial part to understand the world in western culture. Westerners are traditionally so used to understand something through the vision. As considering their culture, we can ask the reason of their enthusiasm on funny images in Psy's Music Videos and the reason that he is using it repeatedly. This study would like to prove the reason based on Orientalism and Culture Industry theory.

In the early 2010’s, the expansion of South Korean popular culture around the world is led by popular music, usually known as Kpop. In this paper I seek to answer two questions. First, what are the sources of its success beyond the South Korean national border?Secondly, what does it say about contemporary South Korean society and culture?