• Proceedings of the KAIS Fall Conference
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• 2010.05b
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• pp.763-765
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• 2010

가요계의 발전과 더불어 음반제작도 분업화 전문화 되고 있다. 프로듀서, 보컬트레이너, 보컬디렉터 등이 그것인데, 그중에서도 보컬 디렉터의 역할이 음반을 녹음할 때 보컬을 콘트롤하는 역할에 한정되어 있어 보컬의 또 다른 능력이나 개성을 표현하는데 한계가 있다. 본 연구는 음반이 만들어지기 전보컬 양성과정에서부터 포괄적으로 콘트롤 할 수 있는 보컬 프로듀서시스템의 도입에 관한 연구이다.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.214-225
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• 2013

Current production systems have been recognized as having contributed a dramatic growth in the Korean film industry. However, industry voices feel that the role of these production systems should be reorganized as the industry faces further needs for development process. Film development process involves item selection, scenario completion process, and packaging process, which include choosing the right director and actors in order to increase the chances of completion of the film as well as increasing probability of investment funds. Thus, film development is a very creative and practical businesslike activity at the same time. The purpose of this report is to study the producers' role and problems by comparing Korean film development processes to 'Produced By' of the PGA(Producers Guild of America) and suggest a solution for the improvement.

• Trans-
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• v.12
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• pp.107-140
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• 2022

This study examines the concept and characteristics of immersive theatres through previous studies. Immersive Theatres can be understood as a form of performance that breaks the boundaries between the stage and the auditorium in various spaces so that the audience can actively participate in the performance or immerse themselves sensibly. However, since it absorbs various art forms and continues to change and develop, it is important to recognize the concept by grasping its characteristics as an immersive experience rather than defining it as one. Based on the theoretical background of the concept and characteristics of the theatrical producers and immersive theatres, the producing immersive theatre < The Great Gatsby> is analyzed to derive differences between the immersive theatre and the general performances. In conclusion, it is important to recognize that immersive theatres have audiences at the center of all aesthetic performance environments. The role and position of the audience as a "passive consumer" change to an "active and creative consumer" in immersive theatres where the audience-centered immersive environment and experience are the key, and it was found that not only producers but also the creatives should change their perception of the audience and reflect it in the producing.

• Venture DIGEST
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• s.17
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• pp.23-23
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• 2003

• The Korean Publising Journal, Monthly
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• s.346
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• pp.50-51
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• 2004

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.286-308
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• 2021

For a long time, dramas that everyone has enjoyed at home have become the most popular cultural contents due to the development of digital technology and the influence of Hallyu.(Korean Wave) This study was conducted in-depth interviews and participatory observations on the background, role, identity, and labor experience of TV planning producers who appeared in the drama production process with the implementation of outsourcing production policy in 1991. The number of dramas produced increased sharply in the mid-2000s due to the Korean Wave. Against this backdrop, the planning producer has expanded their scope in the drama production process and emerged as a new drama producer. The planning producer plays a role in creating an environment in which writers and directors can be selected with the identity of "not a creator but a producer of dramas" and lead drama planning. OTT and watching TV on the Internet have made it possible to watch dramas without TV. As this phenomenon accelerates and becomes commonplace, fewer consumers adhere to the traditional way of watching dramas using TV, and consumers' emotional tastes become more demanding. In this environment, TV planning producers are leading the production of dramas, exerting as much influence as writers and directors. They are also building new power relationships among drama producers by securing planning and financial power.

• The Korean Publising Journal, Monthly
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• s.328
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• pp.72-73
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• 2003

• The Korean Publising Journal, Monthly
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• s.301
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• pp.63-63
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• 2001

• Korean Architects
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• s.606
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• pp.33-34
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• 2019

• Korean journal of communication and information
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• v.24
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• pp.93-117
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• 2004

이 연구는 방송사의 조직문화와 가치지향성이라는 관점에서 한국 방송의 공공성 제고 문제를 검토하였다. 방송은 그것을 만드는 사람의 정신과 무관하지 않고 프로그램 제작자는 자신이 속한 방송사가 지향하는 가치를 벗어나기 어렵다는 연구결과를 바탕으로 설문조사와 면접조사를 통해 한국방송공사 프로듀서들의 문화적 특성과 가치지향성을 살펴보았다. 그 결과, KBS 프로듀서들은 부서에 따라 친밀성과 연대성의 정도가 달랐고, 담당하고 있는 프로그램 장르와 방송 채널에 따라 프로그램의 기획과 제작에서 중요하게 고려하는 가치가 달랐다. KBS는 공공성 확보를 표명해왔지만 실질적인 운영의 원칙으로 삼지 않아 왔고 구성원들의 주요한 가치로 내면화되지 못하면서 공익성과 시청률이라는 두 개의 가치지향성을 갖게 되었다. 이 연구는 우리 공영방송의 공공성 확보가 법과 제도의 차원에서 뿐만 아니라 조직문화와 가치지향성의 측면에서도 접근해야 해결될 수 있다고 제안한다.