• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.116-125
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• 2022

Netflix Original movies have distinctive characteristics in that it is screened online only and viewers have to watch movies using their personal devices. By analyzing the haptic characteristics of Netflix platform from remediation perspective, we examine how Netflix hypermediacy haptic characteristics associated with clicking or touching expand to immediacy haptic characteristics, and compare the differences between Netflix original movie (2020) and film movie (1940). Through this, it points out the connection between the sense of the hand that requires clicking or touching and the description of the hand in Netflix original movie . As the individual interface of the personal device has been adjusted to make it possible to watch movies, the position of the hand becomes important in watching movies, and the hand plays an essential role in the beginning, middle, and end of the movie. Therefore, this study, which focuses on the haptic characteristics of Netflix original movie , is meaningful in that it studied the characteristics of the OTT original movie that was not previously covered and that the haptic characteristic plays an important role in the way of watching OTT contents.

• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.677-687
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• 2018

The purpose of this study is to investigate the causes of pre-roll ads played before watching online video contents, and to investigate the using motives by dividing them into broadcasting contents clips and web original contents. The results show that broadcast contents clips have higher use of entertainment/habitual use and social interaction, and that the use time of web content is higher when entertainment/convenience and selective use motivation are higher. Second, perceived invasion has the greatest effect on ad avoidance in broadcasting contents clip, and positive attitude toward advertisement is a significant factor in web contents. Content factors such as content preference and engagement did not affect the avoidance of pre-roll ad.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.949-960
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• 2021

Documentaries based on facts not only contain the spirit of that era but have been transformed in various ways according to changes in technologies and media. This study analyzed under the premise that the original documentary of YouTube plays a role in representing the characteristics of the medium. YouTube's original documentary is released on YouTube and then re-edited and released as a documentary film, and has the same shooting source, and is edited and described differently depending on whether it is a YouTube or a movie. This is the content that can confirm the media differences between YouTube documentary and documentary film. The cinema version shows the difference in that the narrative is developed using third-person narration and subtitles, mainly for handheld shooting and smooth editing, and the YouTube version is developing the narrative centering on audio-centric rough editing, interviews and background music. Through this, it can be seen that the YouTube version reinforces intimacy through a personal and direct expression method, while the cinema version reinforces objectivity through an official and indirect expression method.

• Electronics and Telecommunications Trends
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• v.30 no.6
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• pp.99-108
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• 2015

콘텐츠 유통시장의 변화 움직임을 수요, 공급, 기술의 세 가지 측면에서 살펴보고 방송 선진국인 미국의 온라인 비디오사업자 '빅 3'의 비즈니스 모델을 비교 설명한다. 이어서 본론에서는 Netflix의 경영전략을 콘텐츠 확보전략과 해외시장 경영전략으로 나누어 조사해 본다. 그 결과 오리지널 콘텐츠 확보능력과 해외시장의 가입자 증가가 Netflix의 주요 핵심역량인 것으로 나타났다. 이를 통해 알아낸 사실은 다음과 같다. 첫째 Netflix의 성장 추진동력은 그들이 제공하는 서비스, 콘텐츠, 마케팅이며, 기술적으로는 인터넷망의 발전과 디바이스의 진보에 힘입은 바 크며 둘째, Netflix의 성장을 저해하는 요소는 시장포화, 서비스를 개선하는 경쟁사업자의 증가이며, 셋째 사람들은 재미있는 콘텐츠를 찾아 끊임없이 움직일 것이므로 Netflix를 포함한 온라인 콘텐츠 유통시장에서는 격심한 경쟁이 예상됨을 알 수 있다.

• Journal of Digital Convergence
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• v.11 no.6
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• pp.43-55
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• 2013

This study was to examine the operation strategy of terrestrial broadcasting system on channel image and N-screen service. Nowadays, terrestrial broadcasting system provides video streaming service based on internet. In other words, terrestrial broadcasting system provides N-screen service through TV-PC-Smart phone-Tablet PC. But it is different for terrestrial broadcasting system to analysis the choice criterion of program. Only, channel image of terrestrial broadcasting system expanded into N-screen. Finally, channel image of terrestrial broadcasting system is the competition strategy. It is necessary for terrestrial broadcasting system to prepare the strategy of program choice for users, original contents, new platform and service in connection with N-screen.

• Journal of Digital Convergence
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• v.19 no.10
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• pp.303-317
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• 2021

The purpose of this study is to analyze the competitiveness of OTT operators by developing an analysis framework specialized for the OTT industry. Based on existing research on business model, platform business model, and OTT characteristics, the OTT platform business model framework was developed, and case analysis was conducted based on data from related materials, literature, and internal data to suggest the direction for domestic OTT operators. As a result of the study, domestic OTT operators should use advanced AI and big data technologies to produce original content and improve the infrastructure and service quality of the platform. This study is meaningful in that it provides an analysis framework for OTT operators to establish their own competitive strategies and suggests the direction for domestic OTT operators through case application.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.66-75
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• 2021

The research is centered towards analyzing the usage status of YouTube platform and the nature of content supplied to YouTube by selecting Korean two Traffic Broadcastings Based on TBS(Traffic Broadcasting System) and TBN(Traffic Broadcasting Network). TBS operates 'Citizen's Broadcasting', which has 1.1 million subscribers among 13 YouTube channels, as its main channel. TBN has only 15,000 subscribers to its main 'TBN Tong', and YouTube channels in 12 local networks. TBS which has a dedicated YouTube manpower, is far ahead of TBN in terms of YouTube channel management and content composition. Both broadcasters are passive about creating new media content due to job stability. For the development of the YouTube platform for these two broadcasters, organizational changes within traffic broadcasting and changes in the perception of members are required, and live broadcasting and discovery of star creators are required. In the changing media environment two traffic broadcastings need a program distribution strategy that can be included in various media platforms.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.22 no.2
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• pp.143-149
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• 2022

The diffusion of OTT service has brought the fundamental changes in the value chain of the existing media industry. OTT service based on the public Internet has increased the number of subscribers by using dominant marketing capability, making the pay TV platform player's ability to connecting users powerless. This study examined the changes in the media market and pay TV industry in the USA due to the diffusion of OTT service and analyzed the changing strategies of media firms. The number subscribers of the expensive pay TV service in the USA has diminished, experiencing cord cutting and cord shaving due the diffusion of OTT. OTT players are changing the media market, showing the dramatic excellence in making original contents and distributing the newly released movies. Examination of the recent merger and acquisition cases of media firms tells that the investment in making original contents has increased in order to have the competitiveness in OTT business. The future media industry will be rapidly reshaped mainly based OTT service and strategic judgement is important to maintain the competitiveness of all media firms in the existing value chain of media industry.

• Knowledge Management Research
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• v.24 no.1
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• pp.147-172
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• 2023

This study aims to review the competitiveness of 'TVING', a Korean OTT player in Korean market. For this, this study extracts core business resources of TVING focusing on resource-based theory, and analyzes their competitiveness under VRIO framework. TVING has 4 tangible and intangible resources respectively and 1 human resource. Tangible resources of TVING are technology(recommendation, compression), content(original, exclusive, discriminative non-exclusive), production studio, and paid-subscribers. Intangible resources are content planing capability, distribution network(local, global), marketing promotion·PR, sales), brand preference. And human resource of TVING creates IP professionalism of the company. As a result of VRIO analysis, discriminative non-exclusive content, production studios, and domestic service channels are the most powerful resources of TVING to 'sustain competitive advantage'. Technology, original content, planning capability and IT professionalism bring 'temporary competitive advantage', while exclusive content, the number of paid-subscribers, global service network, and promotion capabilities are not core resources with staying in competitive rank stages. By the way, TVING has potential users for sales of KT and LGU+ thanks to partnership and M&A, but this is not effectively used at the organization level yet. The meaning of this study can be found in that this evaluated competitiveness by each resource of TVING and arranged its implications.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.103-104
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• 2019

<007 Skyfall Title Sequence Hommage Film>(2015)(이하 본인작품)은 원작 <007 Skyfall Title Sequence>(2012)(이하 원작)을 패션 필름(fashion film)이라는 새로운 형식의 접근과 재매개화(remediation)를 시도한 본인의 작품이다. 본 연구자는 이 작품에서 오마주(hommage)와 패스티쉬(pastiche)기법을 통해 연작 형태의 007 타이틀 시퀀스 제작방식을 그대로 가져오면서도 패션 필름으로 재목적성을 시도하고자 했다. 본 연구는 형식의 변화 과정에서 나타난 오리지널리티의 왜곡(distortion)과 전환(transformations)으로 인해 '원본에 대한 고유성을 침해하는가, 혹은 오마주나 패스티쉬 기법으로 재생산되어 새로운 창작물로서의 가치를 지니는가'에 대한 문제 제기로부터 출발하였다.