• Journal of Popular Narrative
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• v.25 no.2
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• pp.217-245
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• 2019

Recently, the interest among Korean broadcasters in the 'observation entertainment' genre has intensified. This study aims to analyze the genre and storytelling of observation entertainment programming from a narratological perspective. The origin of the Korean observation entertainment program began with the 'reality-variety show'. There was a 'real-life' debate in these reality-variety shows, and as an alternative, the observation entertainment program appeared. Documentary filming, omnibus composition, and spatialization of 'everyday' life have led to the recognition of observation entertainment as a single genre. In particular, 'observers' have become a key factor in the observation entertainment program. The subject of the program is determined by who the observer is. The variability of the program format is the same. The observer looks at the observation target on behalf of the viewer. At the same time, he or she serves as a narrator of the program. The observer functions as the most influential factor in the storytelling of the observation entertainment program. In the observation entertainment program, 'observation' is only a form. It is the observer who creates a narrative within this same format to make the difference between each program. Also, voyeurism has been considered a problem in reality shows such as observation entertainment programs. However, the form communicated by observers is not a direct peek, so much of the problem of voyeurism is mitigated. Such observation entertainment programs analyzed through observers are meaningful in that they make people understand the cultural meaning of "reality" in TV and the storytelling of contemporary Korean TV entertainment.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2022.06a
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• pp.1253-1255
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• 2022

예능 프로그램에서 관찰예능 포맷은 널리 사용되는 형태이다. 본 연구에서는 AI기반 리프레이밍 기술을 활용하는 새로운 관찰 예능 제작 기법을 제안한다. 제안방식은 실제 방송프로그램 KBS2 신상출시 편스토랑에 적용되었다. 연구의 조건에 부합하는 촬영 장비의 기능조건과 조사결과를 다룬다. 센서타입와 연속녹화시간은 장비선정에 있어 핵심 고려요소로 나타났다. 시스템 구성은 제작 워크플로우에 따라 촬영파트와 편집파트로 나누어 소개한다. 촬영파트는 실제 제작현장의 기록을 바탕으로 작성되었다. 편집파트의 경우 자체 개발한 편집도구로 이루어지며, 핵심모듈인 AI엔진과 고속렌더링모듈에 대한 소개를 하였다. 향후 최신 촬영 장비의 도입, 처리성능의 향상 등을 통해 제안방식의 적용처를 넓혀갈 수 있을 것으로 기대한다.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.274-289
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• 2019

The purpose of this study is to regard the non-fiction participants in the reality observational entertainment program as social actors. For this, the study has examined the concepts of social actor and performance, understood how the performances of social actors are projected onto the screen, and textually analyzed Youn's Kitchen season 2. As a result, the non-fiction participants(the guests) of Youn's Kitchen functioned as the social actors who performed the roles derived from their social relations under the consciousness of the camera. The more the number of social actors in the observational space increased, the more the number of their performing roles grew. Their everyday activities have been chosen by various filmic devices, such as the cameras, within the specific frame of hybrid performance mode that representational and presentational performances coexist.

• The Journal of the Korea Contents Association
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• v.22 no.8
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• pp.115-125
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• 2022

This study examines the effect of performers on the number of views and likes of entertainment show clips consumed on AVOD short form platform. Multiple regression analysis was performed, setting program viewing factors and performer's topicality index as independent variables, and setting the number of views and likes of clips as dependent variables. As a result of the analysis, performer's topicality index had a positive(+) effect on both dependent variables. According to standardized coefficient, on the number of views, the standardization coefficient of the performer's topicality index was the second highest, and on the number of likes it was the highest among variables. The results suggest that performers contribute a lot to the success of clips on AVOD short form platform.

• Korean journal of communication and information
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• v.72
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• pp.92-120
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• 2015

The objective of this study is to find out how reality game shows, the relatively new television genre, produce a sense of reality and what differences we can find from the reality they produce in compared to that of traditional reality television shows. The researchers anaylized , aired in 2013and 2014 by tvN, with focus on the show's studio setting and characters in the show. During this process, the 'game elements' and 'reality factor' were considered to be the key words. Finally, the reality produces was examined from two aspects: the production and reception. As a result, we found that the reality it produces is more than just a imitation of the real world. It shuttles between the game world and real world, and encourages audiences to recognize the plural realities in our postmodern society. We hope this study stimulates further researches on reality game show genre, which had rarely gained academic attention.

• Review of Culture and Economy
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• v.20 no.3
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• pp.115-144
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• 2017

This paper analyzes the actual 'content' and 'role' of the intrinsic motivation of creative laborers during the creative production process. Based on semi-structured intensive interviews with 16 light-entertainment television PDs in South Korea, this paper articulated that intrinsic motivation towards creative work could be understood as a desire to maintain their level of enjoyment from creative work. The desire was classified into two different types of 'enjoyment', one was the enjoyment based on the expectation regarding the creative job, and the 'enjoyment' experienced primarily related to the creative production process that allows creative workers to actualize individual creative ambitions. In addition, such intrinsic motivation tended to provide a strong driving force for creative workers as they endured unfavorable working conditions that resulted from market principles(viewership ratings), economic stability, and work-life balance. This paper proposes that the tendency of creative workers to endure various undesirable working conditions is based on a strong intrinsic motivation to maintain their level of enjoyment from their creative career.