• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.11-18
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• 2020

Korean entertainment programs have attempted to change formats to reflect the viewers' preference for the unexpected progress of narrative. Casts have used their public identity and it contributes to strengthen the realism by providing their realistic reactions. This study is to advance understanding of entertainment characters' characteristic by classifying character types and analyzing main types that have been appeared repeatedly. This study suggests securing diversity of entertainment characters by noticing character types appearing at low frequency in classification.

• Cartoon and Animation Studies
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• s.35
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• pp.313-327
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• 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 Industrial Convergence
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• v.21 no.8
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• pp.13-21
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• 2023

The purpose of this study was to compare storytelling with TV entertainment programs to find out which elements of web entertainment affected the shift of viewers' interest, and to identify the characteristics of web entertainment storytelling. To this end, each of the web and TV entertainment programs were selected for storytelling analysis, and storytelling analyzed the contents of each item by dividing them into images, backgrounds, stories, and characters. As a result of the analysis, unlike TV programs, web entertainment storytelling allows viewers to immerse themselves in content through a composition that runs directly from the beginning to the crisis, and is characterized by a clear formation in a short video through a clear ending narrative. These research results hope that short-form web entertainment programs produced in the future will be able to identify strategies for viewers' immersion and storytelling strategies.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.160-169
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• 2016

This paper analyzed features of Korean entertainment program formats exported to Asia mostly with that of top 100 Global entertainment program formats exported globally in order to explore Korean entertainment program formats to export globally. Two groups of entertainment program were analyzed in three ways, program category, cast, and material. Regarding program category, quiz game programs showed highest exportation in Global top 100 formats while only 14.3% of Korean entertainment formats exported. As for the cast members, Korean formats prefer well-known celebrities. On the other hand, Global formats produce programs featuring non-famous, ordinary people. Moving on to material of each formats, Global formats focus on puzzle/riddle whereas, Korean formats mainly focus on music/dance and family/parenting. These results indicate that Korean entertainment programs contain strong cultural aspects which generate disadvantages on exportation of these programs, compared to Global entertainment programs. In conclusion, to export Korean entertainment program formats globally, quiz game format with ordinary people and using materials that delivers less cultural aspects are need to be developed.

• Science of Emotion and Sensibility
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• v.19 no.3
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• pp.59-70
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• 2016

Qualitative consumption is a trend in the children clothing market and watching TV of childcare-entertainment reality programs are becoming popular. This study examines the watching degree of childcare-entertainment reality TV programs of parent buyer (30s) and potential buyer (20s) and we investigate their shopping orientation of children wear. We did the survey research of 200 consumers with SPSS statistical analysis including the review of internet news, paper, and books on children wear shopping orientation. The results are following: first, the longer the watching time of childcare-entertainment reality TV programs, the higher shopping orientation, such as following the fashion of child stars, and the higher the watching preferences on childcare-entertainment reality programs, the greater shopping orientation in following childcare-entertainment reality programs star when they are purchasing children's clothing. Second, potential consumers as well as parent consumers were affected by watching the childcare-entertainment reality programs. Watching childcare-entertainment reality TV programs could give the impact when they were shopping children's clothing because they wanted to follow the fashion of childcare-entertainment reality programs TV star. Accordingly, the exposure of the childcare-entertainment reality programs for children clothing is found to be positive to the both current and future consumers.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.27-32
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• 2020

This study analyzed the influence of the format import of Korean entertainment programs on the Chinese broadcasting industry. To this end, an in-depth interview was conducted with the production staff of Chinese broadcasting stations. As a result of the analysis of this study, it was found that the format and production method of Chinese entertainment programs began to change from the time the format of Korean entertainment programs was imported.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.171-180
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• 2021

Places exposed to mass media induce behavior by forming curiosity and expectations for potential travelers. The places reported through mass media influence viewers. Among TV programs, the most influential genre is drama, and reality programs that provide immersion with different characteristics from dramas influence viewers' choice of destination. CVM is mainly used for estimating the value of objects that cannot be evaluated in the market, such as tourist destinations. This study conducted an economic valuation of filming locations for dramas and travel entertainment programs using CVM, and then compared and analyzed the research results of the two filming locations. Linear and log logit analysis were performed to measure the willingness to pay for the filming location of the drama/travel entertainment program, and the payment amount was derived. The conclusion of the study is that as the travel cost required to visit the filming location of the drama/travel entertainment program increased, the intention to visit decreased. The amount payable when visiting the filming location of the drama/travel entertainment program was higher than the average consumption amount for a day trip, and the amount payable for the drama was higher than that of visiting the filming location of the travel entertainment program.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.85-90
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• 2020

Due to the recent Korean wave, Korean childcare programs have been very popular in China, while some localized programs have gained popularity in China. The purpose of this study was to examine whether the viewing of Korean childcare entertainment program influences the parenting attitude and consciousness of Chinese viewers based on the cultivation theory. A total of 544 Chinese viewers were examined through an online survey and found that Korean childcare programs were not only loved by Chinese viewers, but also influenced their parenting attitudes, consciousness and behaviors.

• 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.

• 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.