• Journal of Korea Game Society
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• v.17 no.4
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• pp.81-90
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• 2017

This paper focuses on the rewards, one of the elements(goal, competition, and reward) of gamification, and investigate the actual cases of its application to real variety shows. In this paper, I analyzed <2 Days and 1 Night> which offers trivial(general) rewards, and which offers special(unusual) rewards, and which offers "vernacular" rewards. Unlike specific rewards, abstract ones were estimated to bring about weak gamification effects. In Youn's Kitchen, however, the cast members felt that they received individual and subjective rewards despite its invisible rewards. And the show even reinforced the complete nature of its narrative structure. These results shows that real variety shows can have new and diverse reward structure.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.95-109
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• 2014

The variety show has expanded as a contemporary genre of popular culture since it first appeared as the Industrial Revolution allowed the public to enjoy their leisure time. In Korea, it has developed itself in similar ways, but it also has been criticized as low-brow. Recently, however, the real variety show has caught great attention as one of the social phenomena and is winning fervent responses from general publics as it is not consumed as a kind of entertainment show but is establishing its form and style as Korean real variety show. On the basis of these features, this paper focuses on the characteristics of real variety show as openness and expandability which can be found in the pre-modern Korea's traditional theatrical performances. Quite different from the cases in the Western culture, the Korean traditional theatrical performances used to set a stage up around the living space, attract audience to willingly approach the stage and participate in the theatre, and let them enjoy their participation. At the same time, however, The perfection of the shows had not been missed. And in comparison with the traditional theatrical performances, the present real variety show reveals the anticipation that the real variety show will not settle down just as a certain format or a genre, but accumulate its abundant contents and continue its new attempts and changes.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.55-63
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• 2015

One of the most notable changes in entertainment programs has been the gamification since 1991. The comparative analysis of 255 weekend entertainment programs run by terrestrial broadcasters between 1991 and 1998 and between 2008 and 2014 indicates that entertainment programs have emigrated from the variety format to the reality, and that adopted entangled plots than interwoven ones more and more, using mission performances and competition heavily. Further, even within the reality format, different competitive factors and plot composition are adding the diversity in the end results immensely. The interaction among the gamification, plots and competitive factors is quite likely to drive creative changes in the broadcast formats in the years to come.

• The Journal of the Korea Contents Association
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• v.10 no.1
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• pp.181-191
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• 2010

The number of subscribers of Broad & TV, Qook TV and My LG TV has been growing rapidly. It has been achieved at 1.7 million on August 2009. This study will focus on the viewing pattern of IP-VOD subscribers. For this research, we have interviewed 34 VOD users. According to the analyse, the VOD users prefer to watch free TV's programs, particularly variety programs, during 2 or 3 hours per view and 2 or 3 times a week. They use in general VOD service alone unlike the traditional TV viewers. Furthermore, There were single viewers who have used more than 8 hours continuously on weekend.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.258-266
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• 2016

This study analyzes what contents the general programming channels have been programming since they opened in December, 2011. The findings reveal that their programming tends to center on specific genres such as news, current affairs, variety shows etc., although the general programming channels have programmed diverse contents. This study also shows that the concentrated programming of these genres has been intensified in all the general programming channels as time goes by. The ratio of re-run is shown to be comparatively high, reaching the level of 50%. Thus, it is necessary that they program more diverse genres in order to satisfy the original purpose of the introduction of the general programming channels and to provide the audience with more chances to select programs.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.251-258
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• 2011

Nowadays, 'fusion style' television programs are increasingly found in the production of television program. Originally such a trend has been developed with a purpose of changing tedious cultural program into entertaining style. Recently, however, it has also become as an alternative style of genre which is against from lasciviousness or lewdness of entertaining programs. This study is designed to analyse the characteristics of television production and theorize a producing process of the television genre-over program As a result of various aspects of research, it is found that recent producers who make genre-over program choose any kind of genre which is thought to be needed for their program, without any limitation in terms of methods or skills for specific genre. And with this change of concept for making programs, genre-over programs are newly defined as the entertaining programs, in which its entertaining function is widen and broaden, absorbing the informative function of cultural programs.

• 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.

• Korean Journal of Cognitive Science
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• v.22 no.2
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• pp.123-143
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• 2011

At what point in the process of speech production are gestures involved? According to the Lexical Retrieval Hypothesis, gestures are involved in the lexicalization in the formulating stage. According to the Information Packaging Hypothesis, gestures are involved in the conceptual planning of massages in the conceptualizing stage. We investigated these hypotheses, using the game situation in a TV program that induced the players to involve in both lexicalization and conceptualization simultaneously. The transcription of the verbal utterances was augmented with all arm and hand gestures produced by the players. Coverbal gestures were classified into two types of gestures: lexical gestures and motor gestures. As a result, concrete words elicited lexical gestures significantly more frequently than abstract words, and abstract words elicited motor gestures significantly more frequently than concrete words. The difficulty of conceptualization in concrete words was significantly correlated with the amount of lexical gestures. However, the amount of words and the word frequency were not correlated with the amount of both gestures. This result supports the Information Packaging Hypothesis. Most of all, the importance of motor gestures was inferred from the result that abstract words elicited motor gestures more frequently rather than concrete words. Motor gestures, which have been considered as unrelated to verbal production, were excluded from analysis in many gestural studies. This study revealed motor gestures seemed to be connected to the abstract conceptualization.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.675-690
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• 2016

The current study attempts to empirically identify a theoretical background that effectively explains Korean pop-culture consumption in the Asian Pacific region; particularly, in China. Specifically, this study investigates how globalism, proximity, and modernity, which have been suggested in literature as key theoretical backgrounds for the Korean wave, influence China's motivation to consume the Korean wave and its subsequent consumption of Korean TV programs (e.g., dramas, variety shows, etc.). The findings suggest that the motivation to consume the Korean wave is positively related to globalism and proximity. Modernity, however, is found to have a negative influence on the motivation to consume the Korean wave. That is, the more one holds international values, the more one perceives Korea as similar to China, and the more one holds traditional values, the more motivation one shows to consume the Korean wave. The study also finds that the motivation to consume the Korean wave has a significant impact on the consumption of Korean TV programs. In the revised model, the study suggests that proximity, followed by globalism, has the strongest positive relationship with motivation. Such a finding suggests that a proximity approach could serve as a better theoretical perspective to explain the phenomenon of the Korean wave in China. Regarding the relationships of the demographic/socio-economic variables and the motivation to consume the Korean wave, females, rather than males, the higher the family income one gains, and the lower education level one has had, the more motivation one will show to consume the Korean wave.

• The Korean Journal of Applied Statistics
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• v.30 no.6
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• pp.809-825
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• 2017

The number of TV entertainment shows is increasing. Competition among programs in the entertainment market is intensifying since cable channels air many entertainment TV shows. There is now a need for research on program ratings and the number of episodes. This study presents predictive models for entertainment TV show ratings and number of episodes. We use various data mining techniques such as linear regression, logistic regression, LASSO, random forests, gradient boosting, and support vector machine. The analysis results show that the average program ratings before the first broadcast is affected by broadcasting company, average ratings of the previous season, starting year and number of articles. The average program ratings after the first broadcast is influenced by the rating of the first broadcast, broadcasting company and program type. We also found that the predicted average ratings, starting year, type and broadcasting company are important variables in predicting of the number of episodes.