• Journal of Digital Convergence
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• v.14 no.10
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• pp.431-438
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• 2016

This study focused on the Korean-wave content consumed in the global market and analyzed success/failure factors of services through business model analysis. It aims to offer an effective new media content platform model. ViKi, Drama Fever, Maaduu.com which are representative global OTT were researched on management strategy by case analysis. The success of the global OTT platform is organized into three factors, target customer coverage, revenue model and community activation. Clear and wide coverage of target customer is important to determine the value of the service. Also, revenue model based on the pay service and community for Korean-wave fandom are essential to make good performance in new media platform business.

• Korean journal of communication and information
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• v.46
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• pp.37-74
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• 2009

This research is an attempt to investigate cultural identity at the international level. Asia is one of the weakest communities in the world due to discrepancies in terms of political, economic, social and cultural aspects. Additionally, Asia has never been independent in communication flows since imperialist history until the Korean wave emerged at the turn of this century. The Korean wave reflects complex power embedded in postcolonial world in addition to cultural commonality among Asian audiences. I have conducted audience researches on Korean drama fandom in Japan and China. I adopt Lacanian psychoanalysis in order to interpret identity issues of Asian media audiences. Particularly, Deleuze and Guattari's theories are useful to scrutinize group identity of Asian community. Additionally, I refer to theories of nationalism.

• Cartoon and Animation Studies
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• s.30
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• pp.263-291
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• 2013

In this article, I analyze Korean Dong-in culture and its relationship with Yaoi, focusing on the changes in the 1990s. While Korean Dong-in culture has developed under the influence of Japanese Dojin culture, it is not well-known that Korean Dong-in culture has its own characteristics, reflecting the unique situations surrounding the Korean society. The reason that I pay attention to the changes in the 1990s is that they have created the foundation of the current Korean dong-in culture through changes such as the import and reception of Yaoi, the creation of 'virtual community' in PC telecommunication, the enforcement of Juvenile Protection Law, and the inauguration of 'Comic World,' Among them, the import and reception of Yaoi, a genre characterized by homosexuality including sexual relationship and fanwork, played a decisive role in the change of dong-in culture from manwha circle by highly motivated amatuer artists to fandom. The circumstances that original manhwa dong-in by manwha circle and Yaoi by manhwa fandom coexisted by the mid-1990s, the enforcement of Juvenile Protection Law and the lift of ban on Japanese popular culture rapidly weakened original manhwa dong-in. Also, the popularity of Comic World as a new type of dong-in events reflected the spread of fanwork as a new trend of Korean dong-in. In summary, the import and reception of Yaoi should be considered as one of the important changes in the 1990s Korean Dong-in culture, because 1) Korean women considered Yaoi as a liberating subculture by its powerful contents-homosexuality with sexual relationship, and 2) Yaoi succeeded in attracting new population favoring fanwork as a major trend in Korean Dong-in, differentiated from original manhwa circle population.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.1-15
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• 2021

With the prolonged COVID-19 pandemic situation, the attention on Metaverse has been soared throughout media and publications. Recently the entertainment industry is also changing to actively utilize the virtual world with artists working through Metaverse platforms. With the recent high interests on Metaverse, this study attempts to illuminate how the public perceives and accepts Metaverse experiences. While research on Metaverse has been mainly focused on specific technologies or technical objects, this study focuses on exploring how fans recognize and understand the concept of Metaverse through newly debuted idol group 'aespa', composing of 4 human members and 4 AI avatar members that integrate real and virtual world. For this, this study seeks to analyze the reaction and recognition of fans by exploring online community 'DC Inside'. As a result of analyzing the reactions of fans in the early days of aespa's debut, the perspectives of understanding AI members of aespa are categorized into three groups: first, the type of equating and accepting the real and the virtual world; second, the type of recognizing the real world and the virtual world separately and recognizing the virtual member as an avatar or concept, not a genuine member; and finally, a type of recognizing virtual worlds separately from reality. Based on these results, the implications that Metaverse contents may have in the entertainment industry are suggested.

• Journal of Korea Entertainment Industry Association
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• v.15 no.6
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• pp.35-54
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• 2021

This study examines the characteristics of CBS's Kim Hyun-Jung's News Show(hearafter News Show) and the change to transmedia. The distinguishing characteristics of News Show compared to radio-based current affairs programs are as follows. First, despite its time limit, it adopts the form of investigative reports or investigative documentaries to uncover the truth of the events through 'Detective Son Su-Ho', etc. Second, News show's interviews have avoided biased stance in the reporting of minority issues by interviewing the affected parties anonymously including people involved in incidents and accidents, bereaved families, and other victims. News Show has been producing a transmedia content called 'That Honey Show' (a show that reads comments as fun as honey) since November 2018. 'That Honey Show' is broadcast in real time on YouTube right after the News Show radio broadcast ends. As a form of spin-off content, 'That Honey Show' breaks down the boundaries among staff, MCs, and guests, as well as shifting roles by using 'vice characters'. The female host, Kim conducts interviews with the main characters related to various issues and extends the fixed identity of current affairs shows to the everyday politics and cultural realms. Thus she draws active participation and responses audience. This paper analyzes two representative broadcast cases of 'That Honey Show'-first, the case of resistance and activity of the BTS fandom ARMY in the US presidential election, and, second, the case of reporting on the Nth room incident. This analysis considers the critical participation of digital citizens and the effect of fostering a sense of community in the current affairs show in the transmedia era.