• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.658-675
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• 2022

With the advent of the OTT platform, the world has become an era in which the same media content is shared and reacted in real time by being grouped into one culture. This study attempts a producer study of web novel writers, who are producers of the web novel market that is expanding into webtoons, dramas, and movies with IP (intellectual property rights) of the original story at a time when Korean K-content such as "Squid Game" and "Weird Lawyer Woo Young-woo" leads the global market. In this study, web novel writers were viewed as producers of commercial media content, not just 'Novelist', and their identities and characteristics of the labor process were examined. Web novel writers began writing web novels as a side job or two jobs, and cited the fact that they can make profits alone without barriers to entry and without incurring capital or facility costs. Although there is no barrier to entry, most writers experience severe failure in their first work, which is attributed to the misunderstanding that the word "writer" is someone who writes what they want in any genre. Web novels are different, so writers go through the process of realizing that in order to succeed by writing web novels, they must be thoroughly in the audience's shoes and write them according to the trends and codes they want. Web novel writers expressed their identity as "story sellers," "story producers," "people who can produce IP alone," and "people who satisfy fantasies that cannot be achieved in reality," and in common, there was a strong sense of being a person who provides stories and makes profits or sales. Regarding the burden of writing a huge amount of web novels, the writer with a high income expressed a generous position that "the income is higher than the effort," but ordinary writers complained of difficulties in the hard work, saying, "It seems like I am working hard on writing that I have to write constantly.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.26 no.4
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• pp.123-149
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• 2015

As a mixture of both words 'Web' and 'Cartoon'. Webtoon is a sort of cartoons that come up with development of information technology. Web-toon is not just a cartoon but an OSMU for culture industries such as movies, dramas, games and more. While Web-toon's value is increasing, activities of securing and managing it as archives seem quite slow. To preserve web-toon as a web archives and digital contents which has long-term archival value effectively web archiving system should be required. This study analyzes webtoon's type and features. Also, requirements for web archiving system are extracted from case analysis of existing digital archives. With the results, this study proposes a method to design and implement web-toon archives based on OAIS reference model.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.230-240
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• 2011

The personality types has been emphasized as one of the influential factors for the program selection by viewers in the multi-channel and multimedia era. However, there have been few empirical studies on this issue. The current study investigated how the audience personality influence the program preference. Specifically, this study focused on both need for cognition and sensation seeking which are related to the television viewing motivation. To examine the influence of personality on program preference, four types of drama and five types of entertainment programs were used. The results of the web survey showed that viewers personality type seem to have effect on their program preference. Indeed, it appeared that there was positive relationship between need for cognition and sensation seeking. The implications of this study's findings were discussed.

• Journal of Game and Entertainment
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• v.2 no.2
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• pp.51-60
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• 2006

Recently, many streaming videos including drama, music videos, and movies have been extensively given on the web. Such video services are on negative lines in any service restriction depending on the age of users and then whole part of a video have been restricted considering the age of users. Therefore, in this paper, we will present a new method that provides the access depending on the ages of users and also sets the video rating of each scene in a video. To get this restricted access for video, we will first divide a streaming video into many scenes using histogram techniques. Each scene gets an access control depending on the nudity level. Finally, we will make the video indexing including the access level depending on its nudity level and then hide restricted scenes using several masks in playing that streaming video.

• Asia-Pacific Journal of Business
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• v.11 no.4
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• pp.83-101
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• 2020

Purpose - The purpose of this study is to identify the factors which affect the performance of Chinese web drama. Design/methodology/approach - For empirical investigation, 163 web dramas which were listed in AiQiyi platform were used as the sample. It was hypothesized that number of explanatory variables drawn from previous research, including the power of producing company, and star power of actors and actresses, average length of an episode, genre of the drama, viewer ratings, existence of exclusive SNS account and the use of existing IP, would influence the performance of the drama measured by cumulative hit number. A hierarchical regression analysis is conducted to test hypotheses. Findings - Results show that star power of actors and actresses, average length of an episode, viewer ratings and the use of IP indeed affect the performance of Chinese web drama. Research implications or Originality - As the first empirical study of this kind, this study may help not only domestic but also global participants of fast growing Chinese web drama industry.

• Journal of Korea Society of Digital Industry and Information Management
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• v.19 no.3
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• pp.1-11
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• 2023

Unlike in the past, when the demand for web content was increasing and the use behavior of watching short videos was changed, unlike the past when only TV dramas and differentiation were mentioned, web dramas are more firmly established through various attempts. A typical form change is commerce of web dramas. Recently, more and more cases have been produced in the form of product sales by securing real-time functioned, which are disadvantages of commerce, through web dramas. In this trend, web dramas are also increasing interest in product sales. This can be said to be a form developed from the concept of a company's PPL, and the number of companies that use web dramas that predict continuous growth as strategic product promotion and marketing means is continuously increasing. Therefore, this study provides basic data on consumer behavior to collect product information and purchase products using web dramas to companies that are using or considering web dramas, and through this, companies design and establish marketing strategies using web dramas.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.134-144
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• 2011

Crossmedia Storytelling is receiving attention as a new style of description in the age of limitless competition and infinite fusion among media. Crossmedia Storytelling specifies a form of storytelling carried out through mixed usage of plural media, such as televisions, movies, and web services. It is different from OSMU strategy in that plays one source of contents according to the characteristics of various media while Crossmedia Storytelling demands users' active participation. Moreover, it is also slightly different from Transmedia Storytelling in the point that narratives of each media are not complete themselves and only through effectively combining plural media can the whole story fully enjoyed. This research aims to analyze how users move among media in terms of Crossmedia contents by examining cases of Swedish interactive drama series , from Australia, and from the United States. To do so, first, the paper looks into the principles of Crossmedia communication and examines that it is based on online word-of-mouth communication, such as viral marketing. As a result, the following was found in the cases of Crossmedia Storytelling: negative stories that arouse users' emotional reactions & users' participation are effective, and the set-up of Sneezer, which causes the knowledge gap, is very important. It was also found that users' participation was actively taking place through online WOM communication in Crossmedia Storytelling.

• Journal of Korea Game Society
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• v.9 no.2
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• pp.29-39
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• 2009

Game scenarios are playing more important role as much as games are getting more sophisticated and expanded in their applications. However, general-purpose tools for production of game scenarios are still not developed. There are similar tools for the production of films or dramas and simple tools for the development of UCG. However, analysis about them shows that they are not suitable for the production of game scenarios. In this paper, we are to develop game scenario authoring tool called 'UMa' suitable for game production and easy to use. UMa is composed of synopsis entry, quest entry, DB entry, communication, display, and control component. Since UMa provides templates to make synopsis, quest, and DB, users can produce them very easily. Especially, characters and items DB are stored independently so that they may be reused to the production of scenarios for follow-up or another game. Using UMa, users can write game scenarios more easily and quickly and cooperate with each other at the same time by Web.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.85-95
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• 2021

Currently, we stand between computers as creative tools and computers as creators. A new genre of movies, which can be called a post-cinema situation, is emerging. This paper aims to diagnose the possibility of the emergence of AI cinema. To confirm the possibility of AI cinema, it was examined through a case study whether the creation of a story, narrative, image, and sound, which are necessary conditions for film creation, is possible by artificial intelligence. First, we checked the visual creation of AI painting algorithms Obvious, GAN, and CAN. Second, AI music has already entered the distribution stage in the market in cooperation with humans. Third, AI can already complete drama scripts, and automatic scenario creation programs using big data are also gaining popularity. That said, we confirmed that the filmmaking requirements could be met with AI algorithms. From the perspective of Manovich's 'AI Genre Convention', web documentaries and desktop documentaries, typical trends post-cinema, can be said to be representative genres that can be expected as AI cinemas. The conditions for AI, web documentaries and desktop documentaries to exist are the same. This article suggests a new path for the media of the 4th Industrial Revolution era through research on AI as a creator of post-cinema.

• Journal of Korea Society of Industrial Information Systems
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• v.17 no.7
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• pp.127-138
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• 2012

Unlike the first generation of Korean Wave (Hallyu 1.0), which mainly refers to the exports of Korean TV dramas via broadcasting systems, the New Korean Wave (Hallyu 2.0) era has been brought by K-pop (Korean popular music) via the rapid growth of social media. The purpose of this study is to understand the impact of this significant shift in media on global fans and their way of adopting Korean cultural goods from a social capital perspective, in order to draw some implications for the current Korean content industries. Most global fans of K-pop are young and use social media to access digital content and share their opinions spontaneously. SNS providers such as YouTube and Facebook not only act as information providers to usher the fans to online music retailers; but also function as links between these fans and cultural producers by turning bonding social capital into bridging social capital. Telecommunication and advertising companies participate in this market as a third party by providing funds for supporting digital circulation and distribution. In this multi-sided market with the interdependent agents, it is extremely important to secure a platform that leads the evolution of its business ecology. Without owning the platform, there is also a very little chance to produce linking social capital as a means to maximize the impact of New Korean Wave.