• The Journal of the Korea Contents Association
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• v.18 no.11
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• pp.213-221
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• 2018

As the mobilization of audience' media consumption getting escalating, terrestrial broadcasting, especially public broadcasting is severely affected in Korea. After 9 years' downfall, public broadcasting is trying to aim for citizen platform. Even though the Korean broadcasting law already has the articles of protecting viewer's right and profit, it has some contradictory limits also. Implied by Japanese magazine Taberutsushin, which was originated from CSA model, I suggest the new model of committee for viewers. The new committee for viewers has various planning committees and evaluation committees to ensure citizen's participation on planning, programming, and production. The new committee for viewers would function as minimum system to prompt the public broadcasting to play it's role in rapidly changing digital era.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.400-409
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• 2009

The Broadcasting Law amended in January 2007 declared to adopt universal right to view(known more widely as Universal Access Right, UAR), the right to access broadcasting programs on such major sports or other events that are likely to catch the gaze of the public television viewers. Then its implementation rule was issued in February 2008, and under the regulations the Committee of Ensuring Universal Access Right has been established, where detailed action measures and guidelines are currently in the process of preparing. However, it is no question that an effectiveness of the implementation system of Universal Access Right presupposes sufficient amount of discussion and social consensus. At present, the major focus in this issue is on the matters including which type of events is subject to UAR and what criteria are desirable in determining which broadcasting company has priority. In this context, this study aims at identifying implications for policy by examining the precedent cases of Europe, Australia, and other countries, where UAR is enacted and implemented. Further, this study tries to draw up a specific scheme for ensuring universal right to view through conducting a survey on public television viewers. We will include specific guidelines for selecting events of public attention, criteria for selecting broadcasting companies regarding priority, and relevant operating rules regarding relayed broadcasting.

• The Journal of Art Theory & Practice
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• no.3
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• pp.85-106
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• 2005

As biennale exhibitions has been expanded into all of the world since 1990s, these trends of blockbuster exhibitions have caused several problems. For instance, some major curators monopolized most global size exhibitions despite of a variety of cultural and historical backgrounds. Besides, due to a strong connection between these curators and their own artists, the young emerging artists' opportunities tend to be reduced as a result of the power game. In addition, major curators' power have influence on the exhibition style as well as on the theme itself. Some artists who did not involved that kind of huge scale exhibitions dispute that the direction of the exhibition is concentrating on the curator's interest instead of artists or viewers. Although these dissatisfactions could not portray correctly the process of organizing and managing system of a biennale exhibition, those biennale exhibitions held in recent have shown tautologic discourses without any passion and positive attitude direct to the exploitation of our society as a vanguard. In the process of comparing several kinds of biennale exhibitions, I could find that some artists who participated several biennale exhibitions at the same time did not present their creative vision, although the triumph of an exhibition was typically measured by the amount of visitors. Thus, the aim of this article is to prove that the biennale can show us new cultural discourse as well as progressive method of understanding our times. Is biennale producing the real 'global standard'? If biennale has done it, could this global standard present upto-date paradigm for the unique exhibition system? Is biennale providing an useful opportunity for the understanding and communicating of contemporary art through the recontextualization which is pronounced by the publicity of curator and organizing committee? How can we find the distinctive strategy from each biennale exhibition including Venice Biennale? Biennale, as a blockbuster exhibition, always requires a degree of hype, otherwise it would not be a special event and would not attract a big enough audience. It is the actual reason why major biennale exhibitions seem to be similar artistic events. Unfortunately, it seems that the excess of biennale exhibitions might bring about the lack of contents. In this case, the biennale syndrome would being a kind of the center of poverty, in spite of the visual splendor. After all, following the global standard may not be a matter of great importance now. What really matters is how each biennale exhibition which started under the different conditions can search their own identity.

• Journal of Legislation Research
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• no.44
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• pp.103-153
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• 2013

This article aims at the legislation of User-Protection Act in area of ICT. In these days telecommunication and broadcasting are getting more and more convergent. The paradigm of ICT is turning over from the service provider to the end-user. User protection has been in each erea of ICT (C-P-N-D) individually regulated. In the area of telecommunication it is important to protect the interest of user, who stands in contract with the service provider. And in area of broadcasting it is important to protect the interest of viewers, who stands "gratis" with the broadcasters without any contracts. For the more efficient user-protection it is also necessary to make a dedicated organization under KCC(Korean Communications Committee). In this early year the government organization was divided into MSIP(Ministry of Science, ICT and future planing) and KCC. The user-protection act will be very important instrument of ICT regulation in the era of creative economy. It is necessary to establish a new frame act of user protection. It is also necessary to make start to establish a new system of user education in erea of ICT. It is strongly expected the new act will be a turning point of ICT development in Korea.