• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.82-93
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• 2016

The latest development of the Korean drama production industry has been accompanied by the steep rise in the number of players and the contraction of the advertizing market, which have combined to intensify the competition severely. Then, China happened. Entertainment agencies' logical strategic choice to maximize production revenue potential was to secure A-list actors who can sell, pushing up their prices, that process has continued to even compromise the health of the production industry as well as the agencies' financial integrity. The drama production industry, including entertainment agencies, should shift the strategic focus from simple production revenue generation to profit maximization through diversifying revenue sources like securing IP rights.

• The Journal of the Korea Contents Association
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• v.18 no.7
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• pp.64-73
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• 2018

Pre-production has become one of the more noticeable new trends in the Korean drama industry. The trend is being led both by the outsourcing producers and the incumbent broadcasting companies. In particular, the broadcasting companies seem to favor the mode of pre-production more and more, and that is happening not only when they are working on their own but also when collaborating with outsourcing producers. It has been generally proven and believed that the recruitment of A-list production factors is one sure way to produce better commercial results in the Korean drama industry. Then, the recent phenomenon of the pre-production is happening with the lack of the of A-list factors' participation. Especially, A-list writers have been showing a high degree of reluctance to take part in the pre-production, mentioning the inability to reflect the audience's responses on their stories. While the pre-prodction is being adopted in various genres, it is observed that the pre-produced dramas with multi-genre features have a higher chance to succeed.