• Korean journal of communication and information
• /
• v.73
• /
• pp.7-34
• /
• 2015

This study attends to the effects of political entertainment as a newly emerging television genre on citizens' political talk. Particularly, this study suggests audience involvement and political information efficacy as key psychological factors that mediate the relationship between political entertainment and political discussion. More specifically, audience involvement was deemed as a conclusive concept that consists of such sub-dimensions as audience identification and parasocial interaction with program characters and transportation into the messages. Among 317 participants in an online survey, a total of 273 subjects, who had at least some viewing experience with political entertainment TV programs, were included in the final analysis. According to the findings, softer programs that piggyback political information on top of their entertainment content were more likely to increase viewers' identification and transportation. The viewer experience of identification further heightened the level of political information efficacy, which in turn positively contributed to one's willingness to participate in political talk and to hear the other side. It also appeared that political information efficacy significantly mediated the relationship between political entertainment viewing and political talk.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.7
• /
• pp.39-60
• /
• 2019

The purpose of this study is to examine new types of political participation using the new media of digital convergence generation. For this purpose, groups were classified according to age and characteristics of media usage to investigate whether there are differences in media-related tendencies, SNS and characteristics of Smartphone usage political-related characteristics, and political participation by types. The results of the study is that the media usage characteristics by generation showed a difference between groups according to the high and low motivation for using media, and there was a generation differences in politics-related characteristics and types of political participation. Digital generation showed lower political involvement, political efficiency and offline political participation than Web 1.0 generation. In addition, political efficacy showed the moderating effect that had the greatest effect on political participation by types.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.6
• /
• pp.113-122
• /
• 2019

In the 1970s, under the tyrannical regulation and censorship of the Yushin regime, realistic dramatization techniques were forced to reveal their limitations. Choosing the 'allegory' technique, a double-meaning narrative structure, Lee Kang-baek sets up virtual spaces or unrealistic figures, both of which lack 'realism'. Lee Kang-baek has allergic the illusion of detadiscourse, the diaspora character, and the universality of 'Political Unconsciousness'. So it's linked to the perception of history in the 1960s. This creates a semantic network of public and casual perception of history. This was a 'bypass' strategy which more clearly disclose the violent politics. Therefore Lee Kang-baek's play shows the desperate situation of the diaspora character being oppressed by detadiscourse, and the desire of the author who can never give up on freedom of expression, though under that oppression. Furthermore, it was an attempt to acquire a timeless universality and symbolism about human freedom and liberation through the Allegory play technique.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.7
• /
• pp.237-245
• /
• 2019

Entry of women into the higher positions or professions in the fields of entertainment and performing arts has been expanding gradually. Especially, women working in these fields in New York show a dynamic growth and development. As a result, women surviving in a male-dominated world have raised their voices for their human rights to live free from violence, sexuality, slavery, discrimination, etc.. In the entertainment and performing arts, women have been shouting their voices for a long time through the theme, performance process, and the shows. Their voices influenced politics, society, and culture as a whole. The 'MeToo' movement is the result of condensation from their voices. In other words, it is the result of women's voices against sexual harassment or assault in these fields. Starting in Hollywood, the 'MeToo' movement was rapidly spread out online and strongly supported by female leaders and activists in the world. It had a strong influence on the fields of theater and entertainment industry in Korea as well. By recognizing this phenomenon, the contents of this study suggest how and what to continuously increase the value of the 'MeToo' movement in Korea's entertainment industry.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.3
• /
• pp.65-73
• /
• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.3
• /
• pp.285-294
• /
• 2020

"The Man Standing Next" was a 'anger-character movie' that shows a fierce psychological game between the characters. Inspired by this point, it was analyzed the narrative structure of this film based on scene unit applying the 'Five-stage Anger Model' formulated by Lakoff and Kövecses and others. The results showed that the causality and feasibility of the protagonist's anger behavior were highly reflected above the model. In particular, among the five steps, the film-maker spent the longest time on 'anger control' justifying the hero's motivation for punishment or retaliation, while giving the shortest time to 'loss of control' to maximize the urgentness of the punitive actions. The detonator causing his anger at each stage was disposed two to six times each stage with neglect, contempt, arrogance, ostentation, mockery, unauthorized intervention, etc. Sneering of "Chief Security Officer" and insulting of "The President" make the protagonist feel the scorn of a terrible friend-murderer each functioned as a "rage trigger." In conclusion, the film follows the above sophisticated model in its narrative structure. Though it was a political drama that sets up a lot of anger scheme caused from public reasons, it reflects ordinary people's routine anger, which corresponds to 24 percent of the list of Nobaco's Provocation Inventory (PI). The producers elaborately reflected the anger procedure theory and balanced the public and private drivers of rage. It was considered to be derived from the intention to enhance communication with the audience increasing their understanding and aspiration for political movie that are usually heavy and unfamiliar.

• Journal of Korea Entertainment Industry Association
• /
• v.8 no.2
• /
• pp.283-297
• /
• 2014

The future of human life is expected to be innovative by increasing social, economic, political and personal, including all areas of life across the multi-disciplinary skills. Particularly, in the field of robotics and next-generation games with robots, by multidisciplinary contributions and interaction, convergence between technology is expected to accelerate more and more. The purpose of this study is that by new interface model beyond the technical limitations of the "human-robot interface technology," until now and time and spatial constraints and through fusion of various modalities which existing human-robot interface technologies can't have, the research of more reliable and easy free "human-robot interface technology". This is the research of robot game system which develop and utilizing real time synchronization engine linking between biped humanoid robot and the behavior of the position value of mobile device screen's 3D content (contents), robot (virtual robots), the wireless protocol for sending and receiving (Protocol) mutual information and development of a teaching program of "Direct Teaching & Play" by the study for effective teaching.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.3
• /
• pp.191-200
• /
• 2020

Companies are seeking to maximize profits through exports and imports in the ultra-fast, ultra-high-speed modern society. It is only possible to sustain its survival if it targets the global market, not based on any specific region. The K-POP group is also targeting overseas markets in a manner similar to the various global strategies used when companies make inroads into foreign markets, including exports, contracts and direct investment. The K-POP group is engaged in various forms of activities, ranging from simple forms of performance (export) that are visited and staged by an invitation from a certain foreign country to series performances (license) by an invitation from a local promoter and tour performances using its capabilities. The K-POP group is seeking to go beyond the art of single-stage performances and make a systematic plan and make inroads into foreign countries in the form of direct investment suitable for each foreign country. The K-POP group made inroads into overseas markets in the form of simple performances from the late 1990s to 2005, when 'Korean Wave' was first introduced. Group H.O.T., etc. are typical examples. Since then, it has sought to enter overseas markets in the form of franchises by accepting overseas members by 2018, starting with Super Junior in 2005. Since then, the K-POP group in the form of joint investment attempted as group IZ*ONE in 2018 appeared, and a voice story came out in September 2018 when South Korea's JYP Entertainment and Tencent of China joined forces. Unlike K-POP Group, which has entered foreign markets with a global strategy based on the existing export method (H.O.T.), 'Boystory' is a representative group that is made with joint investment, which is a direct investment method. In February 2020, RBW released 'D1Verse,' a five-member group selected by Vietnam's reality show, as a joint investment-type group. This shows the possibility that domestic and foreign companies will release a group in the form of joint investment in order to pursue both globalization and localization.

• Review of Culture and Economy
• /
• v.20 no.1
• /
• pp.21-50
• /
• 2017

The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea's media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry's response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu's archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.3
• /
• pp.117-132
• /
• 2020

The purpose of this study is to examine the lifelong education policy in Korea and Germany, focusing on the historical transition process, and to explore desirable ways to develop the lifelong education policy in Korea. To this end, We compared and analyzed Korea and Germany's lifelong education policy using research papers on lifelong education and practical data published by BMBF, DIE, DVV, EAEA, UIL, and NILE. As a result of the study, German lifelong education policy has improved social and vocational professionalism running programs suitable for the characteristic of region, Korean lifelong education policy lacks civic education in terms of local lifelong education due to political sensitivity. In addition, Germany is expanding the participation rate of lifelong education by constructing an environment where it is easy to participate in lifelong education, while Korea's participation rate in lifelong education is lower than that of advanced OECD countries. At last, the German lifelong education policy pursues a natural change in the needs of the society, the ideological principle of which require education be independent. On the other hand, the study confirms that Korean lifelong education policy tends to be controlled by the central government. As a result of this study, Germany's lifelong education policy provide the following implications for Korea's lifelong education policy. First, This dissertation emphasizes the need for the learner-centered operation as the needs of educational consumers become more diverse. Secondly, It highlights the need for activation of lifelong education in career education. Third, The expansion of the lifelong education budget to support good quality lifelong learning. Fourth, Holistic and long-term system for sustainable lifelong learning society needs to be structured.