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

• The Journal of the Korea Contents Association
• /
• v.14 no.1
• /
• pp.97-108
• /
• 2014

The purpose of this study was to investigate the factors behind the popularity of Superstar K, a reality show, among the viewers. For that purpose, the study conducted an in-depth interview with six viewers that watched the show in the first round and eight more in the second round. The interview results show that the show's fun elements include program "formation," "organization," "edition," "hosting style," and "appeal factors," which differentiated it from other shows. Superstar K made the viewers enjoy the show by thoroughly planning and providing a range of fun elements from program planning to edition and transmission.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.8 no.6
• /
• pp.1648-1654
• /
• 2007

The purpose of this study is to understand how the reality show program spread into global with a variety effects on social and cultural phenomenon, and textual analysis of TV reality show program 'Scandals' with a specific status. As a result of this study shows that TV reality show program 'Scandals' involves in a characteristic and a diversity of TV genre. On the other hand, textual analysis of TV reality show program 'Scandals' is about understanding the situation which create meaning in TV industry with a negative aspects of phenomenon. More over, TV industry creates lower cultural aspects of situation relate in someway to the target audiences to whom they are aimed.

• The Journal of the Korea Contents Association
• /
• v.12 no.6
• /
• pp.120-131
• /
• 2012

This study has attempted to explore the way to construct the reality and its implication of the narrative elements in TV Audition Reality Show. According to the study results, first of all, two audition reality show has added the special tasks to characters based on the competition and has developed the dramatic events sequentially. And they has suggested the course of way between survival and fail, that is, inclusion and exclusion. As that results, audiences has be immersed in the process of the justification of the star(hero) myth and the dealings of musical elements to see dramatized show of narrative. And they knew audition reality show as non-real fiction, so they enjoyed the pleasure spontaneously. These means that the empowered media reproduced the illusion like star(hero) with the purpose of the commercial and political aim and one of the ideology to acquiesce in the appropriateness of the competition.

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

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.13 no.2
• /
• pp.529-535
• /
• 2012

This paper attempts to the couple formation of date show program SBS as a hybrid genre. The characteristic of hybrid program emergent popular formation of television culture in our society, as well as encountered by audiences. It also implies that the visual culture transforms the popular elements of episode of television culture as a reality show program refer to central field of media industries. One final thing that date show program has been rapidly changed in terms of many different methods of format, as well as continued process of the date show program is an opportunity to raise the daily lives of fueling.

• TTA Journal
• /
• s.126
• /
• pp.22-23
• /
• 2009

마음에 맞는 사람들과 우리나라의 아름다움 속으로 떠나는 여행이 얼마나 즐거운지를 알려주는 리얼리티 쇼 <1박2일>. <1박2일>은 좋은 경치를 보여주는 것 못지않게 먹는 즐거움이 얼마나 큰 것인지도 잘 보여주는 프로그램이다. 특히 이승기가 만든 '비어치킨'과 같은 특별한 메뉴를 보면서 시청자들도 강호동처럼 군침을 흘리게 된다. 그릴 위에서 지글지글 익어가는 고기는 야외에서 즐길 수 있는 큰 기쁨 중 하나임에 분명하다. 하지만 이렇게 숯불에 구어지는 바비큐를 발암물질 덩어리라고 찝찝하게 여기는 사람도 간혹 있다. 숯에서 나는 연기와 불에 탄 고기에 발암물질이 포함되어 있기 때문이다. 그렇다면 과연 발암물질 때문에 바비큐를 멀리해야 하는 것일까7

• Cartoon and Animation Studies
• /
• s.35
• /
• pp.313-327
• /
• 2014

Starting with a Korean soap opera in the year 1993, entertainment industry of South Korea such as K-pop, soap operas, Korean celebrities has been introduced and spread throughout China. The new word 'Korean wave' was coined by fans of Korean entertainment culture at this time, and passion on the subject gradually expanded from soap operas to entertainment programs in the market of China. It is necessary to analyze the current situation that Korean entertainment programs gaining tremendous popularity on the entertainment field in China and research on ways to cope with the fierce competition and to change to survive from it. Nowadays Korea has its own unique attribute with its national traits after years of mere imitative adaptation from broadcast program of Japan and that of America since 1980's. Regarding the process, similar situation is ongoing on the entertainment field in China. This paper intends to study potential of Chinese entertainment industry compared to the differences on programs between Korea and China by scoping out success of Korean entertainment program in China and the impact on Chinese entertainment market.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.6
• /
• pp.1-13
• /
• 2021

This study explored the mechanism by which Trot gained a superior position in the broadcasting contents market after the TV Chosun audition program was broadcast. We analyzed the narrative structure of the program to determine what differentiation and popularization strategy the trot audition program took from the existing audition program, and analyzed in-depth interviews with music experts and interviews with the production team. appealed to viewers with a strategy that reversed the success strategy of existing audition programs. First, the strong/non-competent participants did not compete with each other, but rather the strong/skilled players competed against each other. This trot audition set the singing ability as a new 'discourse on sincerity'. Second, we broke away from the 'demon editing', which was considered essential for audition programs, took a strategy of excluding villains. Third, we broke the practice of audition programs that were supposed to show expertise in specific genres, such as idol music, hip-hop, and bands, and combined trot with various genres. Fourth, unlike previous audition programs that mainly targeted specific generations or genders, the strategy was to expand the audience by targeting various age groups. Fifth, it has formed a middle-aged fandom with a 'subtitle strategy' that uses subtitles well to arouse viewers' interest and help empathize.

• Trans-
• /
• v.8
• /
• pp.79-93
• /
• 2020

The main purpose of this article is to discuss the impact of "Dance Smash" TV show on Chinese dance, which uses the combination of dance and new media technology as the core content of the program. "Dance Smash", as a dance communication TV program for the public, first considers the entertainment attributes of variety shows. Spread the dance art on the basis of meeting the public's aesthetic needs, thereby expanding the popular living space of dance art. The use of 'moment of the storm' has let the general audience of non-dance majors feel the technical charm of dances, thus playing a healthy promotion role. However, whether "Bullet Time", a type of dance program that has had a successful case in the West, can also have a positive impact on the mass communication of dance in the localization of China, this is what questions and seeks of this article.