• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.138-148
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• 2021

In this paper, the basic narrative of The Sweet Home is the story that the residents of the apartment fight and survive the monsters in the isolated circumstances from the outside. This paper analysed the narrative and revealed the characteristics of the NETFLIX drama, The Sweet Home, and dealt with the ethics of contagion, core issue of the drama. Firstly, in the drama Sweet Home, the boundary between the men and the monsters collapses from the contagion. The drama shows the aspects of the apocalyptical world through the optical images, and reveals the main contagion cause is the desire and fury of the human to dominate the others. In the drama, we can see the duality that the characters sometimes stand in solidarity with, and often abuse the others. This story reflects the times after 2000s that the boundary between the man and the monster eclipses. Secondly, the drama shows that the ethics of the others popping up after the contagion is violent and thus can go to the totalitarianism. When the residents are shot by the troopers of the nation, the governmental authority shows its brutality. In this situation, the residents recognize their past behaviors and embrace the others. However, in the point that the characters' selfless behaviors could cover up the complaints and the fury of young generations after 2000s, The Sweet Home is a problematic drama.

• Asia-Pacific Journal of Business
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• v.13 no.3
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• pp.157-170
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• 2022

Purpose - The purpose of this study is to understand the motivating factors of Chinese audience who watch the interactive drama, and suggest the effects of audience' motivation on viewing flow, satisfaction, and loyalty. Design/methodology/approach - To achieve the purpose of the study, a questionnaire survey on the Internet was conducted from September 26, 2021 to October 14, 2021, and data from 332 Chinese respondents were collected. Findings - Findings of this study are 1) audience motivation of watching the interactive drama is composed of 6 factors including the pursuit of entertainment and information, curiosity, interaction, sense of control and indirect experience; 2) the pursuit of entertainment and information, interaction and indirect experience have positive effects on viewing flow; 3) all six factors of audience motivation have positive effects on audience satisfaction; 4) four motivating factors including the pursuit of entertainment, curiosity, interaction and indirect experience have positive effects on audience loyalty. 5) viewing flow and audience satisfaction respectively has some partial mediating effects on the relationship between audience motivation and audience loyalty. Research implications or Originality - Results of this study suggest that in order to increase audience loyalty to interactive dramas, in addition to fulfilling the pursuit of entertainment, which is the basic motive for watching any drama, it is important to fulfill motivating factors related to the unique characteristics of interactive dramas such as curiosity, interaction, and indirect experience. In order for these motivating factors to lead to audience loyalty, it is more effective when viewing flow and audience satisfaction are accompanied.

• (The) Research of the performance art and culture
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• no.42
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• pp.47-75
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• 2021

This thesis looks into the interpretation of the Korean War and mystery genre in Korea in the 1970s by analyzing the special drama , in which the theme was directly related to the Korean War, airing through MBC in 1979. It begins by finding the change in direction in the 1970s when the world of TV was dictated through the heavy censorship and the memory of the war by the government. It also looks at the intentions of the producer who was taking in the new way and the viewers who also accepted this drama and its reflections. In order to gain some insights into these issues, it compares between the drama "The Last Witness" and the original novel by Seong-jong Kim who holds the same time to see the way in which this is dramatized. The drama, "The Last Witness", was produced with a plan to generate a high-quality special drama which combined both artistry and sense of purpose. Nevertheless, as watching TV became a leisurely past-time during this period, TV dramas become more aggressive and suggestive in order to attract viewers. This ultimately was encored with obstacles due to the regime and the heavy censorship at the time. The genre of special drama that is well known in South Korea, is designed as an art form to satisfy both their unique artistry and its purpose. The conflict is seen between the key elements of the artistic drama crated by the producers and the 'encouraged' elements that often are needed to engage the viewers. Thus, more often than not, special dramas defeat the original intention of national harmony, encouraged by the regime. This is due to the 'novelty' aspect which grows from the effort of bringing enjoyment to viewers whilst also trying to achieve the artistic drama to life. Alongside this, crime element in this drama is designed in a way that visually embodies the process of deduction, becoming a new possibility to secure the reality of the times. However, it was also a paradoxical existence since it was indicated as an example of unrefined culture that lost its original intention. In that way, it is worth to think that detective suspense stories, which were not popular in Korea, influenced viewers as a tv drama series in the 1970s through the various elements that compose the genre. They went through a process of transplantation and acceptance whilst also attempting to satisfy the viewers and their encouraged elements to engage them. As is well known, crime drama in Korea has its own style by mixing anticommunism and detective reasoning. This combination is found in the way in which the genre naturally forms through the elements selected and excluded in the dramatization of "The Last Witness". The point is that the special drama "The Last Witness" can be seen as an intermediate form that shows the tendency of transformation from the detective reasoning form alongside the crime aspects as TV dramas began to include anticommunism messaging and investigation in the 1970s. In conclusion, when the detective reasoning is used as an element in a TV drama, it shows the trust of the public system and it constantly seeks the possibility of circumventing the political interpretation. The memories of the war is seen as a tool that neutralizes the dismal imaginations inscribed on the dark side of society and the system. As a result, "The Last Witness", broadcasted at the end of the Yushin regime in Korea, is a strange result which combines the logic of a special drama and the encouraged characteristics of television dramas. The viewers' desire which is the discussion about the hidden traces from the texts needs to be restored again.

• The Journal of the Korea Contents Association
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• v.11 no.6
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• pp.167-175
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• 2011

Increased numbers of Chinese are using the Internet as communications technology develops, and more Chinese are downloading and watching Korean dramas and movies. According to a survey conducted to assess the present state of Korean wave in China, most Chinese young people are watching Korean dramas by downloading them from the Internet. The objective of this study is to see the characteristics of Korean dramas preferred by Chinese viewers: the factors are years of production, diffusers(Broadcasters), types of drama, story topics, main actors, and directors. As a result, Chinese viewers tend to prefer to dramas recently diffused in Korea, miniseries, and comic dramas and romance. Otherwise, broadcasters, main actors, and directors do not influence directly on the choice of dramas of Chinese. Particularly, Korean wave stars in China do not always appear into the dramas favored by Chinese viewers.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.117-125
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• 2013

Early 1920s, Joseon film production began with Japanese colonial rule organization and expanded into civilian. These films were influenced by the documentary film what recorded the scenery and the custom also influenced by kino drama that displayed the place of a dramatic incident. So these films developed into the form emphasize on place. At that time, hollywood serial films were popular. So the first Joseon films shooted a picturesque place and a landmark of the city in the background where heros took a risk. In the style stakes, Joseon films looked very similar to Japanese films. shooted long-take and long-shot, it had rhythm with narration of benshi and emphasized on visual excitation by using color. Early 1920s Joseon films which were similar to Japanese films changed from Japanese style to Hollywood style caused by Na woon-kyu's .

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.698-702
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• 2007

Recently, it isn't hard to find split screen effects in films, TV dramas and commercial films which composes a screen with different frames of images. The TV series '24' which was produced in USA in the year 2001 and is expecting the release of its 7th series next year frequently exhibits such split screen methods. '24' is a TV drama of the events taking place in one day which is produced in the form of real-time mode and consists of 24 episodes which is an hour long. Using split screen method, the drama effectively delivers the events simultaneously taking place at different locations. Moreover, the divided frames of each screen relates to one another by means of collision, synthesis and ect. which captures the vision of the spectators. This study aims at analysing the relationships between the frames which consists split screen scenes in the drama '24' and discover its eye capturing attractions using film montage theories.

• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.734-743
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• 2021

TV drama , aired on JTBC in 2018, used several fictional and linguistic clues on the murder case. It effectively delayed the process of inferring the perpetrator by utilizing 'ambiguity' and 'trap', which enabled the double interpretation of the the main character's diaglogue and action. This delay could be made by employment of genre hybrid, cognitive process and knowledge of viewers about typical romance plot and mystery plot in TV drama. In other words, could be evaluated as a special genre hybrid case that disturbs viewers' perception of genre in that the correct reasoning process began from the point that overturned the viewer's expectation about typical romance genre dramas in which male main characters mostly devoted to love. The complicating mystery structure shown in is against the opinion that the traditional mystery structure is difficult to succeed in TV dramas. Also, from the perspective of hybrid genre, it is different from the usual mechanical combination of two different plots. These characteristics in are worth to highly evaluated.

• Asia Marketing Journal
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• v.15 no.4
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• pp.103-129
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• 2014

Differentiated positioning becomes increasingly difficult when brand salience weakens. Also, the daily increase in new media use and information load has led to a social climate that regards advertising stimuli as spamming. For these reasons, the focus of advertisement-related communication is shifting from persuading consumers through the direct delivery of information to an emphasis on appealing to their emotions using matching stimuli to enhance persuasion effects. Recently, both academia and industry have increasingly shown an interest in storytelling methods that can generate positive emotional responses and attitude changes by arousing consumers' narrative processing. The purpose of storytelling is to elicit consumers' emotional experience to meet the objectives of advertisement producers. Therefore, the most important requirement for storytelling in advertising is that it evokes consumers' sympathy for the main character in the advertisement. This does not involve advertisements directly persuading consumers, but rather, consumers themselves finding an answer through the advertisement's story. Thus, consumers have an indirect experience regarding the product features and usage through empathy with the advertisement's main character. In this study, we took the results of a precedent study as the starting point, according to which consumers' emotional response can be altered depending on the storytelling methods adopted for storytelling ads. Previous studies have reported that drama-type and vignette-type storytelling methods have a considerably different impact on the emotional responses of advertising audiences, due to their different structural characteristics. Thus, this study aims to verify that emotional response aroused by different types of advertisement storytelling (drama ads vs. vignette ads) can be controlled by the socio-psychological gender difference of advertising audiences and that the interaction effects between the socio-psychological gender differences of the audience and the gender stereotype of emotions to which advertisements appeal can exert an influence on emotional responses to types of storytelling in advertising. To achieve this, an experiment was conducted employing a between-group design consisting of 2 (storytelling type: drama ads vs. vignette ads) × 2 (socio-psychological gender of the audience: masculinity vs. femininity) × 2 (advertising appeal emotion type: male stereotype emotion vs. female stereotype emotion). The experiment revealed that the femininity group displayed a strong and consistent empathy for drama ads regardless of whether the ads appealed to masculine or feminine emotions, whereas the masculinity group displayed a stronger empathy for drama ads appealing to the emotional types matching its own gender as well as for vignette ads. The theoretical contribution of this study is significant in that it sheds light on the controllability of the audiences' emotional responses to advertisement storytelling depending on their socio-psychological gender and gender stereotype of emotions appealed to through advertising. Specifically, its considerable practical contribution consists in easing unnecessary creative constraints by comprehensively analyzing essential advertising strategic factors such as the target consumers' gender and the objective of the advertisement, in contrast to the oversimplified view of previous studies that considered emotional responses to storytelling ads were determined by the different types of production techniques used. This study revealed that emotional response to advertisement storytelling varies depending on the target gender of and emotion type appealed to by the advertisement. This suggests that an understanding of the targeted gender is necessary prior to producing an advertisement and that in deciding on an advertisement storytelling type, strategic attention should be directed to the advertisement's appeal concept or emotion type. Thus, it is safe to use drama-type storytelling that expresses masculine emotions (ex. fun, happy, encouraged) when the advertisement target, like Bacchus, includes both men and women. For brands and advertisements targeting only women (ex. female clothes), it is more effective to use a drama-type storytelling method that expresses feminine emotions (lovely, romantic, sad). The drama method can be still more effective than the vignette when women are the main target and a masculine concept-based creative is to be produced. However, when male consumers are targeted and the brand concept or advertisement concept is focused on feminine emotions (ex. romantic), vignette ads can more effectively induce empathy than drama ads.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.540-551
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• 2017

While the way broadcasting contents are made has changed drastically, some conflicts appear to remain unchanged. And they are about allegedly unfair practices. The whole arguments may even be deemed natural to a certain degree, considering the characteristics of the overall creative industry. But it needs to be highlighted the conflicts are being aggravated both in drama and non-drama production industries for different reasons. The drama side of the issue comes from how the project-based organizations are organized, and will be resolved if broadcasting companies do not send over their directors. On the other hand, the non-drama side's issues are about the complaints that outsourcing production companies have about the production cost. In general, due largely to the genre's relatively weak power to generate revenue, the producers do not get the upper hand when it comes to the negotiations over financial matters.

• Journal of Venture Innovation
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• v.5 no.4
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• pp.135-156
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• 2022

This study attempted to identify the factors affecting entrepreneurial intention and to confirm the moderating effect of social support that plays a positive role in increasing entrepreneurial intention. The subjects of the study were 419 ordinary people, and data were obtained online and analyzed. The analysis method of this study was based on the SPSS statistical program Ver. 24, and a hierarchical regression analysis method was conducted to analyze the moderating effect. The results of hypothesis verification analysis in this study are as follows. First, innovativeness, risk-taking, self-fulfillment, economic motivation, immersion in a drama, drama role model, and indirect experience, all had a significant positive(+) effect on entrepreneurial intention. Second, among the factors affecting entrepreneurial intention, self-fulfillment was found to have the greatest influence. Third, it was confirmed that the moderating effect of social support between various variables and entrepreneurial intention had a significant effect on innovativeness, self-fulfillment, drama role model, and indirect experience, and entrepreneurial intention. The academic value of this study is to confirm the effect of drama characteristic variables on entrepreneurial intention. In addition, it was possible to confirm the moderating effect of social support, which is the total of individual external support. The implication of this study is that the desire for achievement had the greatest influence on entrepreneurial intention. Therefore, it is necessary to develop a desire to achieve in start-up support policies and start-up education. In addition, in light of the ripple effect of TV dramas, drama role model and indirect experience increase entrepreneurial intention, so it was possible to predict its influence on changes in perception of start-ups and entrepreneurs.