• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.251-258
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• 2011

Nowadays, 'fusion style' television programs are increasingly found in the production of television program. Originally such a trend has been developed with a purpose of changing tedious cultural program into entertaining style. Recently, however, it has also become as an alternative style of genre which is against from lasciviousness or lewdness of entertaining programs. This study is designed to analyse the characteristics of television production and theorize a producing process of the television genre-over program As a result of various aspects of research, it is found that recent producers who make genre-over program choose any kind of genre which is thought to be needed for their program, without any limitation in terms of methods or skills for specific genre. And with this change of concept for making programs, genre-over programs are newly defined as the entertaining programs, in which its entertaining function is widen and broaden, absorbing the informative function of cultural programs.

• Proceedings of the KAIS Fall Conference
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• 2011.05b
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• pp.556-557
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• 2011

본 논문은 공개경쟁 프로그램이 확산되고 있는 추세에서 프로그램의 특성과 진정성에 대한 사회문화적 현상을 고찰하는데 목적으로 두고 있다. 케이블 채널에서 시작되었던 공개경쟁 프로그램을 시발점으로 현재 지상파 방송에서도 다양한 장르에 접목되어 활성화되고 있는 현상을 살펴볼 수 있다. 우리 사회에서 만연하고 있는 경쟁구도 속에서 펼쳐지는 시대적 상황은 무분별한 경쟁 구도로 제작되고 있는 상황이다. 또한 공개경쟁을 통해서 탄생된 스타의 모습은 시청자에게 열광의 대상이기도 하지만 새로운 신화적 담론을 형성하는 대상이기도 하다.

• Korean journal of communication and information
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• v.72
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• pp.92-120
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• 2015

The objective of this study is to find out how reality game shows, the relatively new television genre, produce a sense of reality and what differences we can find from the reality they produce in compared to that of traditional reality television shows. The researchers anaylized , aired in 2013and 2014 by tvN, with focus on the show's studio setting and characters in the show. During this process, the 'game elements' and 'reality factor' were considered to be the key words. Finally, the reality produces was examined from two aspects: the production and reception. As a result, we found that the reality it produces is more than just a imitation of the real world. It shuttles between the game world and real world, and encourages audiences to recognize the plural realities in our postmodern society. We hope this study stimulates further researches on reality game show genre, which had rarely gained academic attention.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.217-245
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• 2019

Recently, the interest among Korean broadcasters in the 'observation entertainment' genre has intensified. This study aims to analyze the genre and storytelling of observation entertainment programming from a narratological perspective. The origin of the Korean observation entertainment program began with the 'reality-variety show'. There was a 'real-life' debate in these reality-variety shows, and as an alternative, the observation entertainment program appeared. Documentary filming, omnibus composition, and spatialization of 'everyday' life have led to the recognition of observation entertainment as a single genre. In particular, 'observers' have become a key factor in the observation entertainment program. The subject of the program is determined by who the observer is. The variability of the program format is the same. The observer looks at the observation target on behalf of the viewer. At the same time, he or she serves as a narrator of the program. The observer functions as the most influential factor in the storytelling of the observation entertainment program. In the observation entertainment program, 'observation' is only a form. It is the observer who creates a narrative within this same format to make the difference between each program. Also, voyeurism has been considered a problem in reality shows such as observation entertainment programs. However, the form communicated by observers is not a direct peek, so much of the problem of voyeurism is mitigated. Such observation entertainment programs analyzed through observers are meaningful in that they make people understand the cultural meaning of "reality" in TV and the storytelling of contemporary Korean TV entertainment.

• Proceedings of the KAIS Fall Conference
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• 2011.12a
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• pp.91-92
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• 2011

본 논문은 데이트 쇼 프로그램의 다양한 구성 형식의 특성을 살펴보고, 문화적 현상에 대한 성찰을 하고자 한다. 특히 다양한 장르간의 혼종적 구성형식에 데이트 쇼 프로그램의 증가와 수용자에게 볼거리를 제공하는 특성은 우리 사회의 짝짓기 문화가 대중매체를 통해 등장한 이후 지속적인 관심의 대상이 되고 있다는 점이 시사 하는 바는 크다고 할 수 있다.

• The Journal of the Korea Contents Association
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• v.18 no.6
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• pp.706-718
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• 2018

This study analyzed Naver TV users' pattern of video clip watching, and analyzed the factors affecting the popularity of Naver TV's video clip. We selected 572 individual video clips that were ranked 50th in Naver TV rankings from September 10th to September 24th in 2017. We classified video clip's characteristics into several factors, including the number of likes, the number of subscriber, genre, video clip's types, and star appearances. We indexed the popularity of video clip, which implies the degree of popularity for each video clip. The results showed that the number of likes for video clips and the number of subscribers for each video clip were positively related to the popularity of video clip. Video clip's genre, video clip's type and star power positively affected the popularity of video clip. The effect of extras genre on the popularity of video clip was the lowest, followed by entertainment, music, and drama genre. but the difference among entertainment, music and drama genre was not statistically significant. Web-only video and non-broadcast video positively affected the popularity of video clip. Finally, the popularity of video clip was higher when stars appeared in the video clip.

• The Journal of the Korea Contents Association
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• v.8 no.10
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• pp.95-103
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• 2008

Hana TV and Mega TV have been growing rapidly with IP-VOD service. The number of subscribers of both of them were 1.4 million in April 2008. Additionally, the change of viewing patterns of IPTV subscribers was predicted. Therefore, the purpose of this paper is to see how the subscribers use IP-VOD service practically. For this research, the frequency, the time and the duration of connection by genre have been analyzed on the March of 2007 and 2008. According to the result, there was a significant change quantitatively: within a year, not only the number of subscribers has doubled, but also the frequency of monthly connection has been increased 15 times. In addition, the duration of viewing per person has quadrupled. Regarding to the contents, the subscribers still prefer to watch free TV programs. However, the viewers have their own way of consuming TV programs. It has been proved that IPTV is a complementary media of free TV with a strong possibility to change the viewing patterns in the near future.

• The Journal of the Korea Contents Association
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• v.17 no.6
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• pp.250-260
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• 2017

This study analyzed the impacts of programming characteristics perceived by the consumers of entertainment programs on general programming channels on watching intention and the data of a survey with 360 adult viewers in the capital area. Research questions were verified as follows: First, as a result of multiple regression to analyze the impacts of the factors of programming characteristics perceived by the consumers on their watching intention, setting personal characteristics as a control variable, programming characteristics as an independent variable and watching intention as a dependent variable, the regression model was significant. Thus, the more positive the perceived factors of programming characteristics, the more significant their watching intention improved. Second, the factors of programming characteristics significantly affecting watching intention had greater positive(+) impacts in the following order: Adjacency > substantiality > weight of genre > social evidence > relative advantage > ease of access.

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

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.85-87
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• 2010

이제 우리는 텔레비전 프로그램을 이동전화기로 보는데 익숙하다. 방송과 통신융합의 패러다임이 가져 온 변화에 빠르게 적응해나가고 있으며, 그 중심에 모바일 TV가 있다. 하지만 시청하는 미디어 기기만 다를 뿐, 플랫폼에 적합한 새롭고 참신한 콘텐츠를 찾아보기란 매우 어렵다. 이동 중 시청이 편리한 모바일 TV가 단순한 재방송 시청을 위한 기기에 불과하다면 분명히 문제가 있다. 본 연구에서는 양방향, 위치기반서비스, 가속도센서 등으로 중무장한 스마트폰과 모바일 TV의 마리아주를 통해 모바일 TV 3.0의 신개념을 제안하고, 이를 중심으로 한 차별화된 프로그램 장르별 제작 방안을 모색하고자 한다.