• Broadcasting and Media Magazine
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• v.22 no.3
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• pp.76-85
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• 2017

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.493-507
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• 2016

This study aims to examine the representations of elders in reality shows focusing on gender disparity by employing a textual analysis and audience interviews. According to findings, as for elderly men, various images are presented while as for elderly women, traditional gender images are mainly reproduced. In the audience reception, the audiences' understanding of genres and their preexisting gender perceptions have important roles on their interpretations in the ways of producing gender discriminated meanings.

• Journal of Broadcast Engineering
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• v.19 no.6
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• pp.925-933
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• 2014

This study investigates the impact of watching motives of parenting reality TV Program, (MBC), (KBS2) on user satisfaction and rewatching. Viewing motives of parenting reality TV Program are found as 'interest', 'charm of children characters', 'relief of loneliness' and 'express everyday feelings'. The result shows that there is significant difference in watching time according to the factor of 'charm of children characters'. Also 'interest' and 'expression of everyday feelings' affect viewing satisfaction of viewers. It is necessary to plan interesting reality program and arrange attractive characters to improve viewing satisfaction of TV program.

• The Journal of the Korea Contents Association
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• v.10 no.1
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• pp.202-212
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• 2010

The purpose of this study is at clarifying what the genre oriented characteristics of virtual reality programs are. For this, the tests of 'We Are Married' being broadcasted in 'Sunday, Sunday Night' Part 1 of MBC from episode 1 to 8. As a result of analysis, this program was mixing together virtuality and reality by placing the image of virtual couple's life and presentness of entertainers existing in reality appearing at the studio. Also, it was forming sympathy with users as it satisfies fantasy and sense of reality toward marriage by the entertainer couples showing love and conflict that may happen between real couples after setting various categories of couple types. Also, through the device for the public space to confess private feelings through television, it shows the boundary between public domain and private domain breaking up. Along with this, it has implemented amusement characteristics by inspiring enjoyment of users by a substituted satisfaction through various forms of impressions presented to spouse such as materials, effort, gesture or language, etc. Accordingly, the virtual reality program shows authenticity, fiction and amusement by being mixed together and we can see that such genre oriented characteristics act as important strategy appealing to users based on breakup of boundary and genre oriented ambiguity.

• The Journal of the Korea Contents Association
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• v.19 no.2
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• pp.591-604
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• 2019

This study examines the process of internalization and elaboration of the logic of competition in the post-IMF era through the genealogy of the survival program. Post-IMF is based on disaster reality, which reveals a specific emotional structure related to the competition, if the narrative of overcoming the IMF event finds narrative models that can be sufficiently reconciled between communityism and individual success. This study also examines the process of disaster preparedness through survival form and narrative structure embedded in such form. Thus, this study reconstructed the diachronic change to track the change of the survival program and the subsequent narrative change. Relative to the time of the healing-mentor, the survival program seems to be declining, but rather seems to have created a new transition through the logic of self-development contained in the healing-mentoring discourse. this logic leads to be ghettoized hierarchy of preferences. Now, the survival program is to perform fantastic surrogate satisfaction by delegating competition to a narrow self-directed area rather than to a big empathy within the community.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2014.06a
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• pp.215-218
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• 2014

본 연구는 <아빠!, 어디가>(MBC), <슈퍼맨이 돌아왔다>(KBS2) 두 육아 리얼리티 프로그램의 시청동기를 '흥미로움', '출연아동들의 매력', '외로움 해소', '일상정서표현' 등 4가지로 밝혀내고, 이러한 시청동기와 시청시간간의 관계를 살펴보았다. 그 결과 '흥미로움', '출연아동들의 매력', '외로움 해소' 3가지 요인과 육아 프로그램 시청시간에 따라 차이는 유의미한 차이를 보였으며, 시청시간이 증가할수록 평균값은 높게 나타났다. 그리고 흥미로움과 일상정서표현 요인은 시청만족에 유의미한 결과를, 프로그램 시청시간과 흥미로움, 출연아동들의 매력, 일상정서표현의 요인은 재시청에 유의미한 영향을 미치는 것으로 나타났다. 본 연구 결과를 바탕으로 육아 리얼리티 프로그램의 만족감과 충성도를 높일 수 있도록 프로그램을 기획하고 프로그램 자원을 활용할 수 있을 것이라 기대한다.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.397-428
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• 2019

Fantasy emerges from the cracks and crevices of rational reality. Italo Calvino says, "Fantasy is possible when the reader stays at a certain distance without falling into the text." Fantasy does not form farthest from reality. It comes from the confusion between reality and fiction. In short, fantasy does not exist on the contrary of reality, but on the boundary of reality. Reality and fantasy are also structurally intertwined. We can't distinguish the reality from fantasy clearly. In fact, in this case, the reader or audience is confused about whether what I see is real or not. Todorov calls this case "hesitation." Hesitation is a key element of fantasy. Two texts that expressed "hesitation" are Kim Young-ha's short novel Vampire (1997) and Wes Anderson's film The Grand Budapest Hotel (2014). On the surface, these two texts seem to have nothing to do with narrative structural similarities. And both also arouse readers' and audiences' interest by letting confuse reality to fantasy. In Kim Young-ha's Vampire, we can look at the process of confusion of reality called "narrative infection" when a text is read to the reader. In the movie The Grand Budapest Hotel, we can find a strategy to make an unreal story feel like a fact in history. And we can also find a process in which the success stories of alienated characters become reality through 'solidarity' in the film. This paper is a study of how fantasy creates "reality", makes readers feel fantasy, and how it spreads through these two texts.

• Electronics and Telecommunications Trends
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• v.22 no.4 s.106
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• pp.35-42
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• 2007

1990년부터 디지털콘텐츠 제작에 사용되고 있는 모션캡처 기술은 제작비 절감, 콘텐츠의 리얼리티(reality) 향상이라는 장점으로 인해 지속적으로 활용되어 왔다. 최근 디지털콘텐츠가 고품질화 함에 따라 리얼리티의 중요도가 매우 커졌으며, 이로 인해 디지털액터를 리얼하게 움직이기 위한 모션캡처 기술의 활용이 지속적으로 증가하고 있다. 본 고에서는 모션캡처를 데이터 추출 방식에 따라 분류하고, 각각의 장단점에 대해 설명한다. 또한 산업계를 중심으로 개발되고 있는 상용화 기술 동향에 대해 기술하고, 향후 발전 방향을 제시한다.

• 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.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1261-1273
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• 2010

The advent of various arts and remarkable development of mass media since 1980s accelerate fashion photographs' advancement. The expression of fashion through photographs can represent characteristics of ages, societies, cultures, traits of designers and techniques of photographers. In addition, that is the tool which contains economical role as a product and artistic role as photos. Therefore, this study examines hyprt-reality images in editorial fashion photographs. Hyper-reality means the reproduction which represents the reality of life more actually. Hyper-reality through photographs elevates reality of virtual things and creates the confused situation which haunts the boundary between reality and reproduction. This study classifies the hyper-reality in editorial fashion photographs into three groups by their external traits, ideal reality, collapse of reality, and restoration of reality. First, ideal reality is represented as harmony among fashion, characters, and space, causality of fashion with time and circumstances, positive will, and melting with nature. Second, collapse of reality is expressed as in harmony between fashion and situation, violence, fetishism and symbol of death. Third, restoration of reality is shown as recurrence to nature and images of utopia to express dignity of life.