• Journal of the Korea Academia-Industrial cooperation Society
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• v.8 no.6
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• pp.1648-1654
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• 2007

The purpose of this study is to understand how the reality show program spread into global with a variety effects on social and cultural phenomenon, and textual analysis of TV reality show program 'Scandals' with a specific status. As a result of this study shows that TV reality show program 'Scandals' involves in a characteristic and a diversity of TV genre. On the other hand, textual analysis of TV reality show program 'Scandals' is about understanding the situation which create meaning in TV industry with a negative aspects of phenomenon. More over, TV industry creates lower cultural aspects of situation relate in someway to the target audiences to whom they are aimed.

• Review of Culture and Economy
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• v.20 no.1
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• pp.21-50
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• 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 the Korea Academia-Industrial cooperation Society
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• v.21 no.6
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• pp.302-308
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• 2020

This study investigated when TV drama producers choose famous actor/actress based on 288 TV dramas aired in Korea from January 2014 to December 2017. We considered the length of drama, measured by the number of episodes, as a major determinant for choosing famous actor/actress, as well as the existence of originals, use of independent producing agents, and producers' fame as interacting factors between length of drama and choosing famous actor/actress. We detected that drama length had a significant effect while original dramas had an interacting effect. We interpret this result as the effect of mismanagement of drama producing. While a famous actor/actress has the potential to provide economic gains to drama producers, drama producers should be careful in choosing him/her since his/her drama guarantee should be high. This is why producers should choose a famous actor/actress when the length of the drama is short and should prefer an original drama.

• Korean journal of communication and information
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• v.41
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• pp.200-231
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• 2008

This study content-analyzed Korean cable television programs aired from Feb. 6 to Feb. 19, 2007, focusing on the contextual variables linked to violent acts. A total of 657 PAT's (perpetrator-action-target) in the 68 programs sampled were analyzed for characters' age, sex, type, relationship, and motivation, humorization, punishment for their violent acts, and finally reality of violence. According to the results, (1) most violence occurred among male characters, who were at their ages between 20 and 39; (2) more than half of the total violent acts happened among acquaintances including family members; (3) anger, retaliation, personal or group interest, and violence for fun were ranked at the top tiers of the motivation list; (4) most violences were overlooked without punishment; (5) and about 80% of the whole violence were realistic. In terms of program types, (1) female perpetrator and victims appealed more often in drama than the other genres; (2) violence among acquaintances and simple fun as motivation were prevalent most in entertainment programs; (3) every violent act in children's programs was done by unrealistic characters. According to the analysis by program ratings, (1) while least violence appeared in '19 and older', all of the violent acts were portrayed as realistic; (2) humorization were most prevalent in the 'everyone' rating; (3) and female perpetrators and victims appealed most in the programs rated as '15 and older'. Generally, various contextualized violences displayed different distributions according to program types and ratings. The qualitative features of the current findings about cable television violence provide a fundamental data for future studies, which will explore the subsequent effects of violent media contents.