• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.21 no.4
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• pp.149-156
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• 2021

OTT service, which allows video content to be viewed as a streaming service on the Internet network, has recently attracted a lot of attention, and the number of users is also increasing rapidly. It would be a natural strategy for OTT companies to acquire more content to gain a competitive advantage in relations with traditional media companies and other OTT companies. However, there are research results to show that the investment in facilities by Internet service providers who must transport the increasing Internet traffic from OTT provider to end users should increase as the amount of Internet traffic originated by OTT services also increases. This study empirically analyzed how content investment by Netflix, a leading OTT company, affects its revenue growth and network investment by Internet service providers through a polynomial distributed lag model. And the analysis results show that Netflix's content investment contributes to the company's increase in revenue, and also has an effect on the increase in network investment by Internet service providers. This result confirms that OTT operators' content acquisition strategy is a valid management strategy, and empirically supports the study results that OTT operators need to share the cost of Internet network facility investment.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• The Korean Journal of Archival Studies
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• no.78
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• pp.197-249
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• 2023

This paper focus on the demand for broadcast and video archive contents by users outside broadcasters as the archive openness and sharing projects of terrestrial broadcasters have become more active in recent years. In the process of creating works using broadcasters' released video footage, the study examined the criteria by which video footage is selected and the methods and processes utilized for editing. To this end, the study analyzed the the case of the 5.18 footage video sharing project 〈May Story(Owol-Iyagi)〉 contest organized by KBS in 2022, in which KBS released its footage about the May 18 Democratic Uprising and invited external users to create new content using them. Analyzing the works that were selected as the winners of the contest, the research conducts in-depth interviews with the creators of each work. As a result, the following points are identified. Among the submitted works, many works deal with the direct or indirect experience of the May 18 Democratic Uprising and focus on the impact of this historical event on individuals and our current society. The study also examined the ways in which broadcasters' footage is used in secondary works. We found ways to use video as a means to share historical events, or to present video as evidence or metaphor. It is found that the need for broadcasters to provide a wider range of public video materials such as the May 18 Democratic Uprising, describing more metadata including copyright information before releasing selected footage, ensuring high-definition and high-fidelity videos that can be used for editing, and strengthening streaming or downloading functions for user friendliness. Through this, the study explores the future direction of broadcasters' video data openness and sharing business, and confirms that broadcasters' archival projects can be an alternative to fulfill public responsibilities such as strengthening social integration between regions, generations, and classes through moving images.