• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

• (The) Research of the performance art and culture
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• no.22
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• pp.123-155
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• 2011

This study aims to closely read Kim Jong-il's "About Stage Drama Arts" and disclose the new reality as evaluated by him. The study took the method by which to compare Kim Jong-il's theory on drama and North Korea's drama theory in the 1950s, and the findings of this study revealed that it was irrational to grant the adjective "new" to Kim Jong-il's drama theory. This is because tradition inheritance and newness cross each other. First, his tradition inheritance aspect was found in his playwriting method. In playwriting method, Kim Jong-il's argument about characters and language is an extension of the 1950s drama theory, and his theory on JongZa(seeds) is the transformation of the concept proposed in the 1950s. Also, the expression means of dramas and drama arts is dialogue, and his guideline to focus on the art of conversation rather than on acting is interpreted to be a reduced concept of drama arts, compared with the 1950s drama theory. On the other hand, his newness aspect can be clearly discovered in the materialization of stage. The fixed stage background, without dark change, shifts to another situation as it is, and this stage setting is clearly distinguished from the previous stage setting. The attempt is worth highly evaluating to allow the stage to reflect actors' emotional flows and let them act. Also, the attempt is distinctively distinguished from previous drama theories to allow the chorus' positive involvement in dramas so as to directly deliver characters' emotions to the audience and to trigger the audience' response as intended by creators. From the perspectives of drama evaluation, Kim Jong-il's theory and practice regarding stage and music is understood to maximize the audio-visual effects. Therefore, Kim Jeong-il's drama theory, as he argues, is not a completely new theory, but a transformational inheritance of existing drama theories, and a creation theory with focus on expansion of spectacles.

• The Journal of the Korea Contents Association
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• v.10 no.9
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• pp.146-154
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• 2010

Korean TV program market has started since 1995 along with Cable TV and local TV stations and increased significantly due to Korean wave. Now the new platform such as IPTV makes a new opportunity of growth to the TV program market. This study will analyse the actual status and mechanism of Korean TV program market. To begin, Korean TV market is still dominated by terrestrial TV in domestic distribution market and in exportation even though the windows are diversified. This has influenced not only for the production market but also the distribution market as the following: continuous conflicts between terrestrial TV and independent production companies even though the significant increase of independent production in quantity ; terrestrial TV's dominance in distribution market with enormous libraries as for the major content provider. In addition, there are limited independent distributors due to the exclusive trade of TV programs by terrestrial TV. As for the exportation, foreign market for Korean TV programs are mainly Asian countries like Japan, China, etc. Furthermore, since the genre of distribution has been concentrated in dramas, it is time to make efforts to find a solution. Thus, this research can give a guideline as for the first step.

• Journal of Korea Society of Industrial Information Systems
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• v.17 no.7
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• pp.127-138
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• 2012

Unlike the first generation of Korean Wave (Hallyu 1.0), which mainly refers to the exports of Korean TV dramas via broadcasting systems, the New Korean Wave (Hallyu 2.0) era has been brought by K-pop (Korean popular music) via the rapid growth of social media. The purpose of this study is to understand the impact of this significant shift in media on global fans and their way of adopting Korean cultural goods from a social capital perspective, in order to draw some implications for the current Korean content industries. Most global fans of K-pop are young and use social media to access digital content and share their opinions spontaneously. SNS providers such as YouTube and Facebook not only act as information providers to usher the fans to online music retailers; but also function as links between these fans and cultural producers by turning bonding social capital into bridging social capital. Telecommunication and advertising companies participate in this market as a third party by providing funds for supporting digital circulation and distribution. In this multi-sided market with the interdependent agents, it is extremely important to secure a platform that leads the evolution of its business ecology. Without owning the platform, there is also a very little chance to produce linking social capital as a means to maximize the impact of New Korean Wave.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.375-385
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• 2020

This paper attempts to understand the reality of Netflix on the Korean film distribution market environment, and to verify the possibility of developing domestic content centered on independent films in the OTT market, led by Netflix. The research significance of finding the way for Korean diverse films and independent films that cannot be provided with investment and distribution opportunities in various Korean Wave contents will be studied, and the characteristics of Netflix in the Korean film market will be explored. Netflix disseminates Korean contents such as Korean movies and Korean dramas, contributes to the spread of the Korean Wave, and is re-adjusting the paradigm of the distribution market, raising issues that cause a virtuous cycle of profits, controversy over net usage fees, and flooding of Hollywood movies. Considering the nature of intercultural exchange, the interaction between independent film content, Netflix platform, audience, and global market will expand interactive communication opportunities. In other words, just as Netflix uses the Korean media market to make profits, Korea should also use Netflix to try to expand the global market of Korean film contents (K-Film)and maintain a cultural and economic reciprocal attitude.

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.643-651
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• 2016

This study considers the value of English-language films as material for learning a foreign tongue using posh discourse. In daily life, when we decline an invitation or convey unpleasant information to a listener, we use polite expressions; we are careful with our words. English language learners need to learn polite expressions in order to interact peacefully with others; doing so can minimize conflict, which is inherent in social relationships. This study uses the British drama Downton Abbey, which is about aristocracy. This study analyzes the posh discourse used in Downton Abbey and insists that students need to learn it explicitly. It is important to learn the polite expressions of this authentic drama in a real classroom. This study suggests that students work in groups to create a short video, and to try to understand the characters' personalities. Movies, TV dramas, and sitcoms provide great content that shows the various functions of the language that students want to learn. As a source of learning material, film can help improve students' motivation and interest in learning a foreign language.

• Cartoon and Animation Studies
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• s.34
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• pp.237-262
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• 2014

Recent Korean popular films and television dramas represent journalist as the character who colludes with corrupt power to engage in scandals or completes one's goals by good or bad means. It matters that the negative discourse of journalists fosters audience's distrust on journalism. Representation of journalists in popular culture is related to the reliability of journalism. In relation, it is noticeable that popular media represent female journalists. This study examines how recent popular films deal with female journalists through the case of (2011) and (2012) to find improvement of discourse on journalists. In result, three female characters in these films represent positively 'reformative leadership' (Chief Cho in ), 'appropriation of information technology'(Seong Hyo Kwan in ), and 'emotional response' (Jang Eun Seo in ). Compared to representation of journalists through male, the positive representation of female journalists constributes to positive discourse on role and function of journalism. However, it may be considered that these positive representations are merely a part of whole journalists.

• Cartoon and Animation Studies
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• s.34
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• pp.197-217
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• 2014

The 1920s and 1930s ushered in "the golden age" of Chinese comics when the comics flourished. Satirical cartoons in modern Chinese comics were popular due to emotional instability and war caused by foreign powers. Among many popular comics, this paper analyzes in the 1920s and in the 1930s which were made into films and dramas. Chapter Two shows that China in the Republican era of China expanded its consumer culture into some sectors like films, novels, magazines and fashion in the 1920s and 1930s. However, more than any other things, this chapter considers from the historical perspective "the golden age" of comics including comic magazine in the 1930s and a history of comic magazines that gained popularity with conventional and common story. Chapter Three explains that social satire cartoons were in vogue since the May Fourth Movement and anti-imperialistic and semi-feudalistic stories in the 1920s were realized in life. It also says that comics that describes the negative sides of its society were popular. Ye QianYu, a cartoonist, portrayed many facets of Shanghai through : the daily life of the middle and lower classes, bureaucratic corruption and sympathy for the working class. drawn by Zhang LePing describes the unfair social system between the bourgeoisie and the proletariat and the gap between the rich and poor through the main character, the powerless and poor orphan. and lampooned the reality of its time in an objective, witty and humorous way in terms of ethics and economy respectively. The researcher chooses to study and which are very familiar to us, because good cartoons, animations and movies stimulate the feelings about our surroundings.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.34-43
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• 2014

Young Chinese audience can select and watch TV dramas, movies and entertainment programs from many different nations, such as Korea, America, Japan, England, Thailand, India, and so on, through multiple channels, such as online video sites - iQiyi, Youku, LeTV, PPTV, and many others - which were induced by changes in media environment. Various genres of Korean popular culture have recently become popular in China, but this phenomenon differs from the early Korean Wave. During the earlier period (from 1997 to the early 2000s) of the Korean Wave, soap operas were popular among middle-aged women, but now various other genres, such as K-pop, entertainment programs, etc., are also popular in China. The purpose of this study is to explore how young Chinese audiences use foreign pop culture, including their preferred genres, reasons for preferring these genres, and the relationship between the preferred pop culture and national image in Korean, American, and Japanese pop culture were analyzed. According to the study results, similarities and differences between preferred genres and the reasons for preferring these genres, and also a close correlation between preferred pop culture and national image were found. These findings will be fundamental for supporting the continual development of the Korean Wave in China.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.45-55
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• 2015

The Korean wave contents such as Korean TV dramas and K-pop are sweeping over foreign countries. This Korean wave has improved positive national brand image and also brought up interest across Korean culture. Due to expansion of Korean wave, some Korean education contents started to be made by using Korean wave contents. These kinds of Korean educational online contents induce interest in studying Korean by using Korean wave contents. Furthermore, people can indirectly experience Korean culture. so we need to come up with more effective application plan. However, contents which has produced currently still have insufficient part. Based on that, current state of Korean education online contents by using Korean wave contents will analyze into especially a series of 'Pit-A-Pat Korean' from Nuri-Sejong school need to be proposed a review of the limitations and improvement conclusion in this paper. The K-drama produced by effectively utilizing the planning and the Korean educational content. This will reveal to the culture and traditions of Korea, as well as a simple information transfer. So we expect to be a valuable activity that is responsible for a stem to improve the country's image as one item K-culture itself.