• Journal of Arbitration Studies
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• v.23 no.1
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• pp.85-105
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• 2013

The entertainment industry has developed along with current Korean wave fever, and so entertainment-related disputes are increasing rapidly. Litigation is a poor fit for entertainment disputes because of characteristics such as temporal sensitivity. Thus, in the US, the entertainment industry resolves these disputes through ADR mechanisms like arbitration, but cases of settling such disputes through arbitrations are very rare in Korea. This study examined the characteristics and types of entertainment disputes and considered the compatibility of arbitration as a method for settling disputes, and then suggested tasks for revitalizing arbitration systems as entertainment dispute resolution procedures. Arbitrations have many merits, such as the rapid pace of procedures, confidentiality, satisfying the long-term desires of business relationships, the low cost of settling disputes, judgments rendered by experts, etc.; thus, it is a very suitable mechanism to settle entertainment-related disputes. The study proposes necessary steps for revitalizing arbitration systems for entertainment disputes. First, awareness of entertainment industry workers about the arbitration system should be raised. Second, special educational programs for members the of Korean Commercial Arbitration Board related to entertainment should be set up and operated together with encouraging positive attitudes toward actions like establishing a dedicated arbitration unit on entertainment disputes. Third, neutral, professional arbitrators should be secured and aggressive disclosures made. Fourth, a professional ADR organization such as an "Entertainment Arbitration Committee" should be established.

• The Journal of the Korea Contents Association
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• v.14 no.7
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• pp.386-394
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• 2014

Entertainment Industry, with high productivity of added value, is noticed as a major industry leading global economy. Thus the government has been constantly attempting to devise various plans for developing entertainment industry, but the plans are mostly come out according to currently faced issues rather than considering the whole industry interior interaction. We are mainly objective to find a ground for estimating the current entertainment industry status. For this, we borrowed the concept of 'maturity' from various capacity maturity estimation tools. We also analyzed Korean film industry as a representative entertainment industry case to find what and how government intervention has affected on the industry.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.77-89
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• 2019

What are the characteristics of firm executives who have led the fast-growing Korean entertainment industry since the Korean Wave in the early 2000s, and what management implications can be inferred from them? To search for the answer to these questions, we conducted a complete survey of 293 executives from 27 listed Korean entertainment companies. Research has shown that career path diversity has increased in order of general enterprise managers, IT experts, accountants, lawyers and artists, away from the limited human resources level around artists. Thirty three percent of the firms gave stock options to their CEO. This is a positive aspect as data implying that these companies have been striving to do specialization, transparent management, digital and network management, creativity management, and motivational management in the context of sustainablity. However, it was pointed out as an improvement task that the percentage of young(20s and 30s) and female executives is low, even though such people's creativity, sensitivity, initiative and dynamic quality are apt to bring out their advantages especially in the entertainment company, a typical knowledge-creative firms and that the period of the CEO's average tenure was relatively short to 4.02 years.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.27-32
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• 2020

This study analyzed the influence of the format import of Korean entertainment programs on the Chinese broadcasting industry. To this end, an in-depth interview was conducted with the production staff of Chinese broadcasting stations. As a result of the analysis of this study, it was found that the format and production method of Chinese entertainment programs began to change from the time the format of Korean entertainment programs was imported.

• Cartoon and Animation Studies
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• s.35
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• pp.313-327
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• 2014

Starting with a Korean soap opera in the year 1993, entertainment industry of South Korea such as K-pop, soap operas, Korean celebrities has been introduced and spread throughout China. The new word 'Korean wave' was coined by fans of Korean entertainment culture at this time, and passion on the subject gradually expanded from soap operas to entertainment programs in the market of China. It is necessary to analyze the current situation that Korean entertainment programs gaining tremendous popularity on the entertainment field in China and research on ways to cope with the fierce competition and to change to survive from it. Nowadays Korea has its own unique attribute with its national traits after years of mere imitative adaptation from broadcast program of Japan and that of America since 1980's. Regarding the process, similar situation is ongoing on the entertainment field in China. This paper intends to study potential of Chinese entertainment industry compared to the differences on programs between Korea and China by scoping out success of Korean entertainment program in China and the impact on Chinese entertainment market.

• 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.

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
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• 2004.05a
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• pp.321-325
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• 2004

Electrical facilities of entertainment spaces become more complicate and bigger due to growing industry and economy. Therefore using only Technical standards for Electrical facilities of internal standard, we have some difficulty for management and installation of electrical facilities of entertainment spaces. So this paper gives a information which is applied to install the electrical facilities of entertainment space by analysing and comparing of internal and external standard.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.5 no.1
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• pp.1-18
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• 2010

Cultural industry along with cultural content that forms the center of cultural industry is the field whose interest is continually increasing due to the increase of weight in the national economy and the strengthening of importance in future value. Cultural content, particularly, accounts for the essential position in starting a business around one-person business, which recently arouses high interest in a nation. However, it is true that the debates on the rapid growth and identity of cultural content in contrast to the reinforcement of its position, and the criticisms about the lack in development of material and cultural content in staring a business show the limitation of overall cultural content in Korea. This research examines recognition of cultural industry or cultural content through terminologies of definition as well as the relationships of configures in accordance with the outcome of cultural content. Findings demonstrate that cultural content in Korea revealed the highest cultural orientation which is the same as existing interpretations, and as comparison objects, entertainment industry in the U.S. and creative industry in the UK contained the highest part of entertainment and creativity respectively. It reflects that mythical elements of language that has been discussed from the structuralist perspectives are projected in the relevant field. In conclusion, the conceptual definition of cultural content has the structure to project advantages and disadvantages of existing culture, and this limitation needs to be overcome in securing the items and business value in starting a business.

• 한국벤처창업학회:학술대회논문집
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• 2009.10a
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• pp.247-261
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• 2009

• Fire Science and Engineering
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• v.16 no.2
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• pp.14-21
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• 2002

The several floor finishing materials that widely used in entertainment service industry buildings were evaluated according to the method of NES 713. Also, toxic gases of floor finishing materials in combustion without air flow rate were checked as concentration of fire gases variation according to time using gas analyzer. We had estimated the smoke hazard of floor finishing materials in fire. As results of gas analyses using the method of NES 713, toxic index of samples was estimated range of 2～9.7. Therefore, a large amount of toxic gases will release from a floor finishing materials fire and connoted great smoke hazard in fire.