• 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.

• 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.

• 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.

• 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.

• 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.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.21 no.12
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• pp.855-869
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• 2021

Since 2009, stars produced through audition programs have appeared through the process of establishing familiar ties with viewers, unlike stars created by entertainment agencies. This study is a case study that examines the characteristics, roles, and identity of internet live broadcasts (Labang) of vocalists Kang Dong-hoon and his fan cafe(fan community) who appeared in JTBC Phantom Singer 3 in 2020. As a result of the study, fans gathered around SNS even before the fan cafe was created, at their request, 'Labang' began. "Labang" is a "freely participating talk show" in which fans actively participate. This brought about the bond of fans, a sense of belonging, and the activation of fandom. Both stars and fans recognized "Live Broadcast" as "a window of communication to get to know each other," and expressed satisfaction that they could see the sincerity of familiar and unpretentious stars, not unrealistic images reproduced on TV through "immediate comment communication." "Labang" consists of a variety of contents, including stars' daily lives, music activities, broadcast appearances, and hobbies, and is showing "aesthetic differentiation" from those who do not watch "Labang" while sharing the daily lives of stars and fans with active participation.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.37-46
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• 2019

The PRODUCE 101 (Chinese version《创造101》) program is an "Idol Nurture" reality show bought by China's Tencent Video from the copyright of the Korean PRODUCE 101 program. The program's "Idol Nurture" pattern is concentrated in the four aspects of the "Semi-finished" training objects, the complementary nurturing goals, the key points of storytelling, and the extreme empowerment of training subjects. The "Idol Nurture" process is fully presented through the programming of the training processes inside entertainment companies, and the foregrounding of the back stages of the recording, trainees and entertainment companies. The "Idol Nurture" pattern of the program has attracted great attention and has been applauded by many because it better satisfies audiences' diversion utility, personal relation utility, and personal identity utility. This pattern of "Idol Nurture" program can provide insightful reference and valuable experience to the development of other reality talent shows.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.7
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• pp.4418-4423
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• 2015

This thesis urges the change of the education system of popular music for globalization of K-POP in a longer point of view Korean popular music has developed not only musically but also sound quality itself. Moreover it became popular in a global scale in the name of K-POP. However, it is still limited to idol music, and numerous issues related to the lack of musical talent are emerging Even though the routine of birth and death of several idol groups and singers are still repeated. Recently, the skills of artists enhanced due to audition TV shows but still it's not enough. Under this situation, it is not appropriate to rely on audition TV shows and Entertainment Management companies for picking up talented artists. Therefore, like Classic or Traditional music, schools concentrated for popular music must be founded. If this become enabled, young students going to entertainment companies or to unqualified but expensive private institutes will disappear. Moreover, it can prevent students from lacking behind in their academic activity. In addition, a reformation should be done education colleges for raising popular music educators