• The Journal of the Korea Contents Association
• /
• v.17 no.12
• /
• pp.289-298
• /
• 2017

This study analyzed the accomplishment of the outsourcing production policy which forces broadcasting companies to schedule and broadcast more than a certain proportion of outsourcing production programs. According to the results from the examination of whether or not the policy increased the diversity of broadcasting programs, it is positive that a rise in the number of production companies resulting from the implementation of the outsourcing production policy increased the diversity of broadcasting program makers, but programs supplied were limited to certain genres, failing to be diverse. According to the results from the examination of whether or not the competitiveness of broadcasting and video contents increased, production conditions had not improved due to the controversy over the ownership of the right of production between terrestrial broadcasting companies and outsourcing production companies. In addition, though there was the positive effect of increasing export of broadcasting programs, the exports were limited to certain genres.

• The Journal of the Korea Contents Association
• /
• v.15 no.6
• /
• pp.81-90
• /
• 2015

During the last 25 years, independent TV production programing quota policy has been actively evaluated in various aspects except in the field of production personnel. This study focuses on production personnel who has been neglected among the debate of independent TV production programing policy. Especially, this study tries to explore the effect that the policy has brought to production personnel's motivation. After in-depth interviews with 4 professionals and 6 media major senior college students, this study finds that both broadcasting and independent company professionals evaluated the policy performance in negative way. They insist the policy constricts their motivation for production. College students agreed they become unwilling to entering the production filed. The policy should be reconsidered and turn to positive incentives and rewards to motivate production personnel.

• The Journal of the Korea Contents Association
• /
• v.19 no.12
• /
• pp.289-298
• /
• 2019

This paper studied a meta-analysis of 45 papers published during the administration of Lee Myung-bak and Park Geun-hye governments in order to renew academic interest in the TV outsourcing production policy. The meta-analysis was made up of classifications of three items(issued year, journal, academic field) and six items(topic, aim, question, subject, methodology, results). According to the results, the articles(30, 66.7% and 15, 33.3%) published during Lee & Park's regimes adapted the promotional topics for TV outsourcing production policy. The reasons for the papers(18, 40.0%) on management economy, industry, and advertising related to outsourcing production policy are because the two governments focused on research projects that matched the regime stance rather than the autonomy and diversity of broadcasting, media, contents, and the visual.

• The Journal of the Korea Contents Association
• /
• v.16 no.12
• /
• pp.60-69
• /
• 2016

Korean management agency and production's size is bigger than ever applying diversification strategy since the Korean Wave started in 2000. Thus, the cross-ownership between two sectors is widespread and it's side effect such as unfair trading occurred among them. Came up with this problem, this study has focused on the analysis of the cross-ownership status of the entire Korean listed agencies and productions and the quest of the alternatives to solve the problem through in-depth interviews of the stakeholders and experts. Results showed that the horizontal regulation and American regulatory systems should be applied considering the previous law because the cross-ownership level was so high. In conclusion, it was proposed three regulatory models as follows : first, accept the cross-ownership and prohibit casting their contracted actors in their art, second, ban on the cross-ownership and allow mutual investment within a 10 to 20 percent stake, third, blanket ban on the cross-ownership and investment.

• Journal of Digital Convergence
• /
• v.13 no.6
• /
• pp.257-265
• /
• 2015

The outsourcing has become a general part of the convergence in modern game development process for generating a higher profit margin. This study examines and defines the work competences required for the game graphic designers in a collaboration performance of outsourcing. In this study, we introduce the basic concept and advantages of the outsourcing and extend prior work on identifying three work competencies of graphic designers. We conducted in-depth case studies of outsourcing system used by North America's major game developer. The findings from this study offer insights into the essential core competencies expected for graphic designers, providing effective guideline from the practical perspective.

• Korean journal of communication and information
• /
• v.17
• /
• pp.85-111
• /
• 2001

In this article, Channel 4 in Britain is the main theme since its alternative broadcasting system can shed the light to the Korean case. Korea is getting into the era of multimedia and including webcastings there are over thousands channels are available. However the infra-structure fur the broadcasting contents never seems to be matured to match its need. Instead Korean production system is rather vertically integrated into the Networks(KBS, MBC and SBS) which oligopolise the broadcasting in terms of supply. Even though 'Program Quota Regulation' has been established under the new Broadcasting Art(1999), the old habits die hard and still the independent producers have the unfair relationships with the Networks. Under this circumstance, Channel 4 can be the good example to show how well the alternative system can serve to the diversity of broadcasting and the taste of the minority. Channel 4 took almost 20 years to establish since there were enormous amount of debates about its public missions, ideal broadcasting system, whom it should serve for, etc. between all the social sectors including the independent producers. The social agreement was reached on the point that the new broadcaster should not produce but publish and it is called the 'publishing broadcaster'. In this sense, it can be managed effectively with comparatively little fund and at the same time, it can always have all different sorts of contents as well as genres very freely through 'commissioning process' or buying programs from even the most innovative producers. The 'commissioning process' is one of the key points which makes the Channel 4 so unique. The commissioning process is literally open to anybody, in particular, to the small scale producers with much innovative ideas. Channel 4 will support financially as well as with facilities and human resource to produce the program once after their program idea is accepted by the commissioning editor. Even better side of Channel 4 is about their financial success. From the beginning, the 'funding formula' helped in great deal to make the Channel 4 doing all sorts of innovative experiments. The history of 'funding formula' and its contribution are explained in the article, too. With all this effort, the article is hoped to bring discussion about the alternative broadcasting system which might help to prepare the new era of broadcasting.

• The Journal of the Korea Contents Association
• /
• v.17 no.5
• /
• pp.540-551
• /
• 2017

While the way broadcasting contents are made has changed drastically, some conflicts appear to remain unchanged. And they are about allegedly unfair practices. The whole arguments may even be deemed natural to a certain degree, considering the characteristics of the overall creative industry. But it needs to be highlighted the conflicts are being aggravated both in drama and non-drama production industries for different reasons. The drama side of the issue comes from how the project-based organizations are organized, and will be resolved if broadcasting companies do not send over their directors. On the other hand, the non-drama side's issues are about the complaints that outsourcing production companies have about the production cost. In general, due largely to the genre's relatively weak power to generate revenue, the producers do not get the upper hand when it comes to the negotiations over financial matters.

• Journal of Digital Convergence
• /
• v.11 no.10
• /
• pp.71-77
• /
• 2013

Broadcaster and production studio inevitably take the risk in Korea because the outsourced drama is contracted before produced. However, it is important for both parties to share risk and reward. This study seeks to assess the fairness of the copyright contract between broadcaster and production studio by examining whether they both have the balanced risk and reward structure. For the study, revenue and cost elements with their amounts are identified, which come from TV commercials, oversea sales, the secondary windows, sponsorship, and product placement. Next, the revenue and COGS (Cost of goods sold) of broadcaster and studio are estimated for both cases of when drama becomes successful or not. The analysis reveals that the current copyright agreement allows broadcaster hold low risk but high reward whilst production studio takes high risk low reward. However, the result doesn't imply that government intervention is justified because demand and supply determine the negotiation power in a free economy.

• Journal of Science of Art and Design
• /
• v.11
• /
• pp.37-49
• /
• 2007

TV animation has come a long way to this date since popular animation programs were aired on TV, such as 'Run Little Tiger', 'Run Honey', 'Hurry-Scurry Yeongsimi', beginning with 'Wandering Magpie' on KBS in 1978. However, problematic production process has resulted in the degradation of quality. Consequently, the dwindling viewing rate forced animation advertisers to leave, and the animation production shrank. Under those unfavorable circumstances, the government started to heed messages transmitted from animation producers and went ahead with the 'animation broadcasting quota' in a bid to help revitalize Korean animation industry. This study aimed to identify problems and set the direction for the animation industry by analyzing its fundamental and structural problems.

• The Journal of the Korea Contents Association
• /
• v.9 no.9
• /
• pp.171-179
• /
• 2009

This paper explores the current situation of the broadcasting program production by video journalists (VJs), one of the recent trends of broadcasting production, centering around the programs made in Daejeon. The result of the survey shows that VJ programs are considered to be one of the generalized broadcasting program production systems. Thus, production costs should be γeadjusted to a realistic level in order to secure the good quality VJ programs in the current situation. Local broadcasting stations should depart from the idea that they make a VJ program subcontract to produce programs at low cost. It is time to support good quality VJ programs financially and systematically. The survey also reveals that most video journalists cannot participate in the decision-making process regarding program production. Local broadcastings should cooperate with video journalists, as co-producers, in producing the programs. Besides, VJ programs have some disadvantages such as limitation of high definition image production, poor image quality, instability of images taken, etc Hence, video journalists should also try to make better image quality of their broadcasting programs. Local subcontractors should make efforts to overcome their poor manpower and production environments as well. By economizing their scale of production and updating their production equipment, subcontractors need to constantly develop the contents related to local community which make them more competitive.