• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.121-122
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• 2012

지상파방송국들인 KBS, MBC, SBS 등의 방송국들은 다양한 프로그램들을 생산하고 방송하는 미디어 스테이션의 역할을 하고 있으며 TV조선과 같은 종합편성채널 및 케이블 채널이 가세하여 다양한 형태의 방송프로그램을 쏟아내고 있는 현실에서 시청자는 리모콘이라는 강력한 무기를 가지고 방송국들을 심판하고 선택하게 되는데 방송국들은 선택받기 위한 노력으로 프로그램의 질적가치를 높혀서 시청자들의 만족감을 높이려는 노력과 더불어 방송국 자체의 정체성을 확고이하고 이를 알리는데 홍보의 중점을 두려하는데 이것이 스테이션 아이덴티티에 각 지상파방송국들이 투자하고 있는 이유이기도 하며 이 스테이션 아이덴티티를 통해서 자사의 이미지를 제고하고 프로그램의 안정성을 확보하려는 방송국들의 전략을 볼 수 있다.

• Cartoon and Animation Studies
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• s.17
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• pp.53-67
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• 2009

According to the changes of current regulation of media, the broadcasting environment has been loosened by market power, and came into competitive era for broadcasting industry with new technology of combined broadcasting and communication. To resolve these issues, the broadcasting provides are trying process of new channel brand identity to introduce their channels. The purpose of the research is to analyze Spot animation that has fast access to viewers among channel brand identity factors, review expandability and usage of Spot animation character to plan, manage character that can improve awareness and loyalty. Therefore it will study creation background and production, activities of each character representing KBS and MBC, compare the structure, color, material, expression of Spot animation character and summarize properties. To conclusion, three characters of KBS and MBC failed to apply structured and professional plan and management, only expressed image that each channel pursue on Station ID Spot animation and had issues of not deeply sighting expandability and usefulness as a character. The important factor to improve channel brand value of broadcasting provider is to have differentiated identity, and the core of it is to make image-responsible Station ID to be effective. Therefore, Spot animation and character of Station ID is a very important factor so there must be professional research and structural management from the early planning and production for character that represents the providers.

• Journal of Digital Convergence
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• v.12 no.9
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• pp.379-385
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• 2014

N-Screen era is held due to the cloud computing technology which access to contents anytime, anywhere without any persistent. In the broadcast industry, this broadcast contents is rapidly serviced by variety of media devices such as PC, Smart phone, Tablet, App, IPTV. To Increase the usefulness and usability of the platform, same brand identity have to be maintain by devices and integrated guide which can encompass a variety of media are needed. This study tries to figure out the need of New Media Style Guide to keep brand identity in a variety of new media beyond previously Web style guide which limited in the Web pages. First, Integrated Guide GEL of BBC's and Web style guide of KBS was analyzed. Through the analysis it was found that the limitations and problem of the current web style guide and then suggested the improvement direction. In addition, this study tried to find which design elements should be made for new media style guides through in-depth interview with practitioners who work in broadcast media industry for more than three years. Through the research it was understood the current status of integrated brand identity and found a way to improve forward to new media platforms of KBS.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.161-171
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• 2014

This research aims to analyze the characteristics of the channel brand components, identities in accordance with the organizational strategies of the programmes, and brand structures of the comprehensive programming channels. The channels promote themselves mobilizing a variety of channel brand components and, ecxept Channel A, JTBC, TV Chosun, and MBN coined its names which are reminiscent of their parents corporations. The organizational strategies of the programmes are related with the channel identities. TV Chosun, for instance, branded themselves as 'conservative advocate' while focusing on news programs, and Channel A also takes conservative bias strategy focusing on the news programmes, especially after the 2012 presidential election. JTBC, however, organizes drama and entertainment programmes intensively being equivalent to that of terrestrial broadcasting programmes, and MBN positioned neutral and center with the news and cultural programmes. Referring to the brand architecture, which reveals the structural system of the brand, it is argued that TV Chosun and MBN take the integrated corporate brand strategy, while JTBC tries to mix and balance the brands of the parent corporation and its own independent one. Channel A, exceptionally, doesn't take a name of its parent corporation 'Dong-A'. In conclusion, it is argued that the comprehensive programming channels utilize and take the parent corporate brand, mixed brand, and independent brand in accordance with the brand power and circumstances of their own parent corporates.

• Journal of the Korea Society of Computer and Information
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• v.25 no.10
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• pp.255-260
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• 2020

In this paper, I propose an efficient brand identity strategy by topic modeling the Instagram posts, one of SNS(Social Network Service) having more than 1billion world-wide and 500 million daily users. Since the 92% age groups of the Instagram is 18~50 years old (59% 18~29y and 33% 30~49), I set research analysis target three mobile commerce sites to dress and cosmetics sales sites that sale apparels cosmetics and gadgets that recently opened and have operated marketing on diverse channel including SNS. By topic modeling SNS posts for 6 months after launching the site that tagged each m-commerce site brand name or company name, I validate companies' brand identity strategy works effectively and suggest moderation of strategy for brand image. As a result, I found one of three mobile commerce site has different brand image by users and need different identity set up.

• Archives of design research
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• v.18 no.4 s.62
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• pp.53-64
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• 2005

The emergence of new communication media, digital, is something of a wonder, as well as a cultural tension. The industrial technologies that dramatically expand human abilities are being developed much faster than the speed of adaptation by humans. Without an exception, it creates new contents and form of the culture by shaking the very foundation of the notion about human beings. Korean broadcasting environment has stepped into the era of multi-media, multi-channel as the digital technology separated the media into network, cable, satellite and internet. In this digital culture, broadcasting, as a medium of information delivering and communication, has bigger influence than ever. Such changes in broadcasting environment turned the TV viewers into new consumers who participate and play the main role in active communication by choosing and using the media. This study is trying to systemize the question about the core identity of broadcasting through brand as the consumers stand in the center of broadcasting with the power to select channel. The story schema theory can be applied as a cognitive psychological tool to approach the active consumers in order to explain the cognitive processes that are related to information processing. It is a design with stories, which comes up as a case of a brand's story telling. The range of this study covers the current issue and educational programs in network TV during the period of May and August of year 2005. The cases of Korean and foreign programs were compared by the station each program is broadcasted. This study concludes that it is important to take the channel identity into the consideration in the brand strategy of each program. Especially, the leading programs of a station must not be treated as a separate program that has nothing to do with the station's identity. They must be treated to include the contents and form that builds the identity of the channel. Also, this study reconfirmed that building a brand of the anchor person can play as an important factor in the identity of the program's brand.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.185-194
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• 2020

This study aims to figure out how the brand experience design elements works in the Shortform video-based branding through case analysis. The sense, feel, think, act, relate experience of Shortform video brand are provided through the implementation of specific experience design elements in the process of the creators expressing personality through social media channels and communicating and interacting with consumers. As a result, LIZIQI's food videos provided a brand identity as an 'Eastern gourmet' to consumers through the audiovisual stimulation of food in video, the cognitive reinforcement which is combined of identities and products, and the behavioral participation by web sites·electronic media. In addition, a strong brand relationship was established by sharing emotional ties using human factors and responsibility through co-branding. This can be extended to various Shortform video contents-based branding cases, and it will suggest a useful approach to the brand building strategy through strategic brand experience design elements.

• The Research Journal of the Costume Culture
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• v.28 no.6
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• pp.755-770
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• 2020

As the postsecondary school-age population continues to decline, universities are building identities to differentiate themselves and create a favorable impression among this cohort. We investigated the role of logo-bearing products as a way of promoting university identity, specifically, the effects of ingroup ties, ingroup affect, and centrality on attitude toward university logo products and purchase intention. This study further examined the moderating effects of perceived university prestige on the relationship between logo product attitude and in-store purchase intention, and the moderating effect of online shopping frequency on the relationship between logo product attitude and online purchase intention. We conducted a survey of undergraduate and graduate students at a university in Seoul. Survey responses (N=561) were collected and processed using SPSS 23.0. Multiple regression analysis showed that ingroup ties and affect had significant effects on product attitude. However, centrality had no significant effect on attitude toward the product. Product attitude had a direct significant effect on both in-store and online purchase intention. Perceived university prestige moderated the relationship between product attitude and in-store purchase intention. Moreover, online shopping frequency moderated the relationship between product attitude and online purchase intention. The results of this study are expected to provide fundamental knowledge for developing product strategy of logo products.

• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.716-726
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• 2020

This study presents methods and alternative examples for fashion brands to effectively use video-based communication channels to form brand identity that analyzes the definition, status and type of YouTube channel fashion films as well as enables the ability to derive brand identity characteristics. Literature studies focused on Christian Dior's official website and related previous studies. The temporal range of the case studies was from October 7, 2010, the date when the first fashion film was uploaded to current Christian Dior YouTube to July 17, 2020 (the survey date), and there are a total of 550 subjects for quantitative analysis. The succession of the couture spirit means that Christian Dior's craftsmanship was created and passed down by Musée Christian Dior to act as a contemporary key element of brand identity. The iconic expression of femininity is Dior's core design philosophy that began when the woman image of a new era was presented through a new look, and Dior's femininity means a woman that reflects the character of the times as is interpreted as her own personality from the perspective of modernism through the creative directors of future generations. The brand's core identity code 'Miss Dior' expresses the brand's vision and eternity through perfume as well as targets Z generation male consumers through an emotional approach based on forms that used emotional images such as movie-type films.