• Vending industry
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• v.2 no.6 s.7
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• pp.95-98
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• 2003

대중문화의 꽃 ‘스타되기’를 향한 청소년들의 꿈을 타깃 마케팅 포인트로 삼아 의욕적으로 진행했던 오디션 동영상 자판기 사업이 의욕만큼 시장이 따라주지 못하고 있다. 한때 유망시장으로 많은 업체들의 시장가세를 불러 일으켰으나 현재로서는 $3{\~}4$개 업체 만이 현재보다는 내일의 가능성을 보고 소신 있는 시장 개척을 진행하고 있을 뿐이다. 이중 '하이 스튜디오' 오디션 동영상 자판기를 전개하는 SM게임은 제품 차별화 및 지속적인 부가성능 보완작업을 통해 이 시장의 새로운 앞날을 제시하고 있다. SM게임의 최근 사업행보를 통해 오디션 동영상 자판기 시장의 현실과 미래를 살펴봤다

• Vending industry
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• v.1 no.4 s.4
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• pp.83-89
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• 2002

이제는 자판기가 스타까지 만드는 세상. 작년부터 불붙기 시작한 정보컨텐츠 기술을 응응한 자판기화 동향은 연예계 진출을 위한 오디션까지 대신하여 주는 단계까지 이르렀다. 오디션자판기 시장은 지난해 기술개발과 제품화가 본격화되기 시작한 이래, 바야흐로 본격적인 시장공략과 인기몰이가 시도되고 있다. 이벤트성 성격이 강한 만큼 장기시장으로 가기 위해서는 많은 과제 역시도 안고 있는 오디션자판기 시장. 과연 크게 한번 뜨기 위해서는 어떠한 시장과제들이 선결되어 나가야 하나. 올 들어 본격적인 사업행보를 내딛기 시작한 라피, 하이스튜디오 두 업체의 사업행보를 중심으로 시장 활성화 방안을 모색해 봤다.

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

• Digital Contents
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• no.2 s.141
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• pp.72-74
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• 2005

지치고 스트레스 쌓일 때, 간단하게 한 게임 하러 들어갔다가 오히려 스트레스만 더 쌓인 체 돌아온 경험이 누구에게나 있을 것이다. 하지만 신나는 음악과 화려한 춤들로 하루의 스트레스를 확실히 해소해 주는 온라인게임이 등장했다. T3엔터테인먼트에서 개발해 엠파스게임나라를 통해 서비스되고 있는‘오디션’이바로 그것이다. 현재 온게임넷 비비빅을 통해 방송되고 있기도 한 오디션에 대해 살펴봤다

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

• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.13-23
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• 2015

A study on the 'FUN' of TV reality audition programs. "Why are the audience so enthusiastic about the survival audition programs?" "What fun do the audition program audience have?" In order to find the answers for such questions, this study applied 'the 4-step fun evolving model' and thereby, categorized audience's fun-seeking behavioral modes, and therewith, examined how such fun-seeking behavioral modes would change by step over time. As a result, it was found that the audition program audience had faithfully followed the 4 fun types (watching, having, doing and becoming), and that their fun-seeking behavioral modes had changed by step over time in SBS "K-POP START" (Season 3) in 2013. Such findings suggest that the audition program fans accommodated 'the fun evolving model.' Their step of 'watching' evolved gradually into the step of 'having' both on-line and off-line (support of participants/malicious or good-will replies, participation in blogs/twitters, photo materials collection activities) and that of 'doing' (application for the jury group, organization of fan club, crazy fan activities, participation in phone voting, etc.), while increasing their fun.

• Vending industry
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• v.1 no.2 s.2
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• pp.104-105
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• 2001

최근들어 오디션자판기 시장이 뜨겁게 가열되고 있다. 제품에 대한 본격적인 소비자 인기는 아직 기대하기 힘든 시점이지만 이 시장의 선점을 노리는 업체들이 각자만의 노하우를 가진 제품들을 속속 출시하고 있기 때문. 이런 가운데 CIA코리아에서는 본연의 오디션 기능 외에도 동영상 비디오 CD까지 제작 가능한 `락뱅` 오디션박스를 선보이고 신천점, 연신내점 등지에 샵을 오픈하며 제품에 대한 빠른 소비자 인기확산을 시도해 가고 있다. 금호 집중취재에서는 인터넷 시대 최고의 엔터테인먼트기로 락뱅을 띄우기 위해 야심찬 도전을 펼쳐 가고 있는 CIM코리아의 사업현황을 살펴본다.

• Trans-
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• v.11
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• pp.1-35
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• 2021

This study looks to explore situations in which the authenticity of reality audition programs is inherently distorted by subjective intervention through a theoretical model of existentialism and case study of how it was practiced in an actual program. In detail, we examine the impact on the essence of human subjective intervention and the behavior by free will and use Sartre's existentialism a theoretical model and a Korean audition program series as the case for the study. We believe that the producers intended to narrow the audiences choices by creating a favorable environments for certain participants (trainees as they were called) to be recognized and liked by the voting audiences. We look to "subjectivity," the first principle of existentialism, people determine their essence through free will, and all actions in the production process are aimed at achieving that goal, which keeps the position balance of final debut group by creating the character image and personality through character making, storytelling and increasing or decrease the assigned air-time of each individuals.

• Journal of Gifted/Talented Education
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• v.26 no.4
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• pp.587-609
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• 2016

The purpose of this study is to analysis the cognitive frame of the expert on musically talented in the Pop music audition program. Consequently, this article found that each expert has difference priority. Myself(PA), voice(YA), tune(YO) are used frequently. In comparison with standard frame, all experts refer to creative area in priority. But, they lack in motive area. Also, there are areas which don't treat in standard frame. And to conclude, pop music audition program has creative and personal characteristic. If not, it doesn't give prominence to differentiated messages and last in the global market. Based on the result of this study, this paper suggests the following: Firstly, it needs devices that support areas which fall short of selection. Secondly, it requires new frame which modifies the details of standard frame.

• The Journal of the Korea Contents Association
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• v.18 no.7
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• pp.503-518
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• 2018

This study conducted a narrative analysis on the audition program, season2 which was the most popular in Korean in 2016, focusing on the competition and training participators. Results indicated that the narrative structure of the program had three factors; 1) the competition, 2) training, and 3) audience participation. And, season2 was a talent program employing the process of survival and elimination to develop an idol group with audience participations.