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윤영인(Yoon Youngin) 한국디지털디자인학회 2010 디지털디자인학연구 Vol.10 No.3
소셜 네트워크의 개념이 새로운 패러다임을 맞이하는 가운데 소셜 네트워크 서비스를 통해 제공되고 있는 온라인 소셜 네트워크 게임이 등장함에 따라 기존의 인터넷 온라인 게임과는 다른 그래픽유저 인터페이스의 특성을 분석하고자 하였다. 이를 위해 최근 2~3년 사이 가장 큰 폭으로 성장한 사이트인 페이스북에서 서비스하고 있는 소셜 네트워크 기반 게임을 분석하였다. 먼저 문헌연구를 통한 인터넷 기반 소셜 네트워크의 개념의 변화와 특성을 고찰하였고 기존의 온라인 게임의 인터페이스에서의 속성들의 변화와 특성에 대해 조사하였다. 이후 소셜 네트워크 기반의 게임이 갖춰야 할 그래픽 인터페이스의 특성에 대해 정리하고 이를 바탕으로 소셜 네트워크 서비스 기반의 온라인 게임의 인터페이스의 기준을 제안하도록 하였다. 분석 결과 소셜 네트워크 게임은 레이아웃 면에서 게임정보영역 보다는 소셜 네트워크 정보영역의 비중을 크게 두고 있으며 이로 인해 게임 정보 영역은 레이어 형식의 팝업이나 최소 단위의 텍스트나 아이콘을 활용해 숨어있는 형식을 취하고 있었다. 색채는 대체로 게임의 배경과 흐름에 맞추어 제작 되었고 이로 인해 게임정보영역의 색도 흐름을 맞추고 있는 것으로 나타났다. 캐릭터는 주로 2D의 SD형 캐릭터를 활용하였고 시점은 3인칭 Qurter-View 방식을 가장 많이 채택한 것으로 나타났다. The concept of social networking has opened new era of paradigm. The Analysis is intended to recognize the characteristics of graphic user interface that are different from existing online games as new online social networking games are being offered by social networking service. To analyse this social networking games are chosen from facebook websites that has been significantly grown in last couple of years. First changes and characteristics of social networking concept were studied with documentary research and the changes and characteristics of existing online games were studied. Then the characteristics of graphic interface that are needed in social networking based games are categorized and the standard of interface of social networking service based online games is offered with categorization. As the result of the analysis information area of social networking has more importance on social networking games and as of it game information areas are being hidden as layer type pop-ups or least text units/icons. Color is usually made as backgrounds and contents of games and it shows the color of information area of games is also matched with the contents. Mainly SD type of 2D characters are used and third point of Quarter-view method is chosen.
소셜 미디어 장과 리액션의 정동역학(情動力學) ― 중국 동영상 사이트를 중심으로
윤영도 ( Yun Youngdo ) 한국중국현대문학학회 2016 中國現代文學 Vol.0 No.77
There has been a drastic change on the social media field in China after 2010. As the rapid popularization of smartphones and the increase of internet users, Chinese video sharing market also has grown rapidly. The Chinese video sharing service (a.k.a. video hosting service) companies, such as Youku(優酷)-Tudou(土豆), Iqiyi (愛奇藝)-PPS, Tencent Video(騰訊視頻), was able to be conglomerates by mergers and acquisitions under the institutional and financial support of Chinese government for the last 4 years. It could have not been possible without the transformation of the media consumption from linear style to non-linear one, and without the affective and cultural practices of the young generation such as post-’80(八零後) and post-’90(九零後). This article explores the topology of the social media field, especially of the video sharing service in contemporary China, and the cultural-political meaning of the reaction of the users in terms of affective dynamics between the agents on the multi-layered field.
윤영도 중앙대학교 외국학연구소 2019 외국학연구 Vol.- No.50
‘Ten Years’ won the Hong Kong Film Awards(金像獎) for Best Film in 2016. It can be supposed as an 'event' in Deleuzian concepts. While the mainlandization is becoming more irreversible in Hong Kong, A low-budget independent film made by young filmmakers, which depicted the dystopian future of Hong Kong in 2025, won the Grand Prize at the Hong Kong's most prestigious film awards. It served as an important reflection of the Umbrella Revolution of 2014, and also influenced the series of events that followed and the recent anti-extradition bill protest. So it is can be called as an 'event' at the social aspect, and also at the field of Hong Kong film. In the first place, this paper examines a series of changes surrounding the Hong Kong film industry after the Handover of Hong Kong to mainland China, and then look into the reality of the Hong Kong film world as a cultural field which complex conflicts and articulation between China and Hong Kong, and between political, economical and cultural agents is going on. Lastly, This paper investigates the recent trend of the ‘SAR new wave’ and the possibility of the change in Hong Kong film world.
소셜 미디어 장과 리액션의 정동역학(情動力學) - 중국 동영상 사이트를 중심으로
윤영도 한국중국현대문학학회 2016 中國現代文學 Vol.0 No.83
There has been a drastic change on the social media field in China after 2010. As the rapid popularization of smartphones and the increase of internet users, Chinese video sharing market also has grown rapidly. The Chinese video sharing service (a.k.a. video hosting service) companies, such as Youku(優酷)-Tudou(土豆), Iqiyi(愛奇藝)-PPS, Tencent Video(騰訊視頻), was able to be conglomerates by mergers and acquisitions under the Institutional and financial support of Chinese government for the last 4 years. It was not possible without the transformation of the media consumption from linear style to non-linear one, and without the affective and cultural practices of the young generation such as post-’80(八零後) and post-’90(九零後). This article explores the topology of the social media field, especially the video sharing service in contemporary China, and cultural-political meaning of the reaction of the users in terms of the affective dynamics between the agents on the multi-layered field.