• The Journal of the Korea Contents Association
• /
• v.21 no.12
• /
• pp.645-661
• /
• 2021

Scriptwriters have appeared in Korea's broadcasting production system for more than 40 years as a key producer. This study specifically investigated the work identity and labor experience of scriptwriters who have played countless roles from planning and organizing programs in various broadcast genres such as non-drama informative program, entertainment, news, and radio to script writing. As a result of examining the work identity and labor experience of the scriptwriters based on the auto-ethnography of the 20 scriptwriters working in the field, they felt that they had an " indispensable" program producer and a media culture producer and at the same time felt that they were taking on tasks that were unclear. They felt that the cause of this inequality was a problem of the production system and employment type, but they recognized that they could not be solved individually, and they were developing their own skills or building connections to get work, and expanding their areas unconditionally.

• The Journal of the Korea Contents Association
• /
• v.15 no.4
• /
• pp.75-87
• /
• 2015

This study aims to explore how the copyright for writers of informative TV programs and documentaries is protected in the reality of broadcasting. For this study, 12 writers and the head of copyright department of the Korea TV & Radio Writers Association were interviewed in depth for research. Our interview findings suggest that writers have worked without written agreement signed by some form of legally binding contract. Instead, they have made verbal contracts. Writers should be aware of the reality of copyrights and request to readjust of basic copywriting fee from the Writers Association and each broadcasting station.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2022.05a
• /
• pp.263-265
• /
• 2022

In online exhibitions, the artist's differentiated exhibition composition is important because the exhibition immersion decreases compared to offline exhibitions. Therefore, the purpose of this paper is to propose a new online exhibition platform by developing a PC APP service that exhibits the work production process led by the artist. To this end, literature surveys, visitor surveys, and in-depth interviews were conducted. Based on this, a prototype was implemented with Figma and Unity. As a result of the study, visitors answered that online exhibition planning needs to be improved, and the artist said that if the artist's autonomy is guaranteed in the composition of the exhibition hall, the understanding of the work can be improved. By applying this, a system was developed that allows artists to display their own production process data. The significance of this paper is to help visitors improve their understanding of the work and improve the delivery of the artist's work.

• Proceedings of the Korean Society of Computer Information Conference
• /
• 2014.07a
• /
• pp.37-39
• /
• 2014

현대에 집필되는 소설이나 시나리오 등의 스토리는 점점 플롯이 복합해지고 캐릭터가 입체적으로 변해가고 있다. 여러 개의 이야기가 동시다발로 진행되고, 다양한 캐릭터들이 복잡한 관계로 얽히면서 갈등 구조를 형성하기 때문에 작가는 창작 과정에서 작품 속 캐릭터들에 대한 정보를 정확하게 인지하고 관리해야 하는 부담이 점점 커지고 있다. 창작 과정에서 생산되는 수많은 정보들에 대한 작가의 인지적 부담은 정보에 대한 작가의 잘못된 기억과 혼란을 초래할 수 있으며, 이는 결국 작품의 완전성과 무결성을 저해하는 요인이 된다. 따라서 본 논문에서는 작가가 작성한 원고를 분석해 캐릭터의 대화 이력을 추적하고, 캐릭터가 아는 정보와 모르는 정보가 무엇인지 추적하여 작품의 모순을 막고 작가의 창작 활동을 도와주는 작품 분석 시스템을 소개한다.

• Smart Media Journal
• /
• v.11 no.6
• /
• pp.37-50
• /
• 2022

This proposes a direction to build and provide an exhibition space based on the metaverse platform so that artists can independently open their own exhibitions in an online environment. Although many artists are produced every year, offline exhibitions are becoming difficult due to not many art galleries, and offline exhibitions are becoming impossible due to Corona, which began at the end of 2019, and online exhibitions are emerging as an alternative. We analyze cases of existing online exhibition methods and visit online exhibition methods such as web, video, and virtual reality and metaverse environment then present a plan for individual exhibitions in consideration of the recent metaverse environment. The proposed metaverse-based personal exhibition method is structured so that artists can construct a space on the metaverse and place their works, and then viewers can freely take a look on it from a remote location. Based on the proposed exhibition direction, the representative metaverse platform was applied to confirm the characteristics and possibilities of exhibition space and composition of works and users' exhibition experience. In the face of the rise of online exhibitions, space can be constructed in the direction the artist pursues in online exhibitions as well as offline exhibitions, but also online exhibitions, and hopes that online exhibitions will become another genre of exhibitions rather than incidental after the end of Covid-19.

• Korean Association of Arts Management
• /
• no.58
• /
• pp.49-88
• /
• 2021

Contemporary literary writers engage in multiple jobs and activities in the changing industrial and institutional environments to manage careers and produce literary value. The notion of art entrepreneurship envisages writers as the actors pursuing optimal rewards at both literary and economic levels by applying creative knowledge and skills to the management of career. In contrast, the notion of creative labor argues that writers go through career insecurity as they pursue self-fulfillment through work. This paper critically reviews two notions and suggests the notion of cultural intermediaries to better understand their production of literary value within the variety of relational contexts where they are situated. This paper analyzes the structures and characteristics of a wide range of intermediary practices by literary writers. Based on the analysis, I argue that the autonomy of literary value the writers construct and their status of entrepreneur-labourer are contingent upon the relational contexts within which they practice the intermediary work. I also suggest that literary writers by utilizing a variety of tactics cope with the changes that shape the autonomy of literature and invent new roles and identities as cultural intermediaries. Furthermore, literary writers develop not only self-management skills to adapt to the changing environments but also the collective capacity to cope with the constraints derived from the structural change of literary production and circulation. Finally, I argue that the art management discipline can reflect upon and support the creative endeavors of literary writers by embracing the critical understanding of structural changes suggested by the disciplines of humanities and social sciences.

• The Journal of the Korea Contents Association
• /
• v.16 no.5
• /
• pp.194-204
• /
• 2016

With the fast diffusion of smart media, Webtoon has become popular contents among Korean people. Webtoon's content is being used in various content industries, such as movies and drama, and thus its cultural influence is increasing. Using ordinal Regression analysis, this study tried to find major factors affecting webtoon's success. This study found that readers' rating, number of likes, OSMU, author power, genre, picture style are important factors affecting the success of webtoon. This study has several business implications for the Korean webtoon industry.

• Cross-Cultural Studies
• /
• v.49
• /
• pp.33-58
• /
• 2017

As a living space, house constitutes a good part of inhabitants' life, making the rhythm of life. This rhythm tends to be reflected into the house, establishing a sort of intercommunications between the house and its inhabitants. Becoming a living element, the house can endow the writer with literary resources. It is interrelated with its inhabitants. Thus, Duras' work preserves many invisible and fusional traces of links between her characters and the house. With her writing, the house displays important traces of life, with which a body of meaning is to be formed. It implies habits, imprints, links, and so on. Here, its projection into the imaginary also takes place for our writer. With this perspective in view, Duras is supposed to objectify her characters as physical and imaginary bodies. This introduces the passage from the real to the imaginary and vice versa. Unknown stories hidden behind the living places can come to manifest themselves through her writing.

• Journal of the Korean Society for Library and Information Science
• /
• v.51 no.2
• /
• pp.23-48
• /
• 2017

Picture books, as a genre, are characterized by conveyance of ideas through linguistic texts, visual texts, and the complementary interactions between them. The writer of a picture book develops and delivers his or her ideas with textual contents written in a unique style, while the artist conveys the writer's ideas through pictures where things, objects, and figures are imbued with various emotions. Understanding a picture in a picture book requires an understanding of both the structure shown on the surface and the underlying structure that adapts and visualizes the philosophy and ideas of the writer. In light of the discussion above, this study proposes a method to help librarians improve their understanding of visual literacy for picture books, as visual literacy is required for the provision of readers' advisory services regarding picture books. This method, which is based on behavioral psychologist Rudolf Arnheim's theory of visual thinking, is expected to help librarians write picture book reviews or other secondary materials.

• The Journal of the Korea Contents Association
• /
• v.10 no.11
• /
• pp.102-112
• /
• 2010

This study is the secondary full-scale research of a TV drama writer, who has been out of scholarly pursuits. This study examines the Su-Hyeon Kim's differential and tendency in home-drama genre, who has been constructing a general idea of TV drama genre, namely a home-drama, and a melodrama. The purpose of this study is to reconsider the meantime both of exclusive evaluation by the functional measure of social norm, also by the feminism-based evaluation of her drama's supporting role of patriarchal gender ideology. By focusing on her recent highly popular home-drama (2008), this study shows that the writer used her own category grammar strategy of harmonizing both of convention and invention in genre. The conventions in genre are 'a big family', 'a pluralistic construction' 'a realism based on a everyday life', and 'a theme of love of a family with happy ending'. The invention in genre are 'a change of the 1st generation patriarchy', 'a change of the 2nd generation role of a housewife' and a change of the 3rd generation marriage customs'. Also this paper presents that the writer showed a humanistic tendency that pursues a recovery of both 'humanity' and 'love of family based on trusting', which have been destroying by capitalistic ideology, rather than discussing whether her tendency on the gender ideology of patriarchism is conservative or not.