• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.55-65
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• 2021

The purpose of this study is to explore whether entering the overseas market can be an opportunity in overcoming the limitations of the single profit structure in which the traditional performing arts industry relies on public support. To this end, we applied the concept of industrial value-chain and business model and divided the overseas market entry process into four stages-preparation, promotion, harvest, and follow-up. Based on three case-studies that actively pursued overseas market development with market-oriented thinking in the field of traditional music, the relevant entry model of overseas market for the Korean traditional performing arts industry was suggested. Although the overseas market is not yet a major source of revenue, the traditional performing arts teams searching for profit diversification can consider the overseas entry model derived from this study. Also as found in case studies, the Korean government should establish an institutional system to foster planning and distribution experts in charge of overseas markets for the traditional performing arts, and develop a long-term information provision program away from the one-time expense support.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.63-71
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• 2020

K-Pop is powerful. Once considered to be at the periphery of global music scene, it is now reaching the whole world. Not surprisingly, the media, domestic and foreign, have scrambled to unlock the secrets of K-Pop's phenomenal growth. In doing so, they have not failed to highlight the underside of its success, such as cut-throat competition among idol-group members and the programmed member replacement by their agencies. One of the most notable characteristics in this process is called, in their business jargon, 'the graduation system'. This paper attempts to explicate this management practice unique to K-pop industry. To do so, this paper draws on Rene Girard's work on desires, particularly his notion of mimesis, violence and the scapegoat mechanism. Based on a documentary film, interactive online sites and a monograph that have chronicled how the K-pop girl group <9 Muses> have 'graduated' during their debut process, this paper applies, as its main analytical tool, the scapegoat mechanism and attempts to explore on its basis what 'the system' entails for the K-pop industry in general and the actors working within it in particular.

• Journal of Digital Contents Society
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• v.5 no.4
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• pp.300-305
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• 2004

The industry of digital culture contents has resulted in the high growth of added value at the area of game and movie in 2004 but the markets of animation character, and music disc have been weaken. Animation industries in Digital culture contents have attracted the attention of the people as the business of multi culture contents which has the possibility to expend and to enhance the added value nut only for the field of image and character business but also for the area of the copy right on. The stable structure of market, however, has not been settked down except a few of successful projects due to the rapid decline of 2D animation and the strong market of 3D in overseas. The purpose of this study is to analyze and research the basic logic of the market structure at the domestic business of 3D animation. In addition this paper is to suggest an alternative in terms of benchmarkin in overseas. It could be expected to achieve the effective production in this field, if the result of this study could be applied to the related world as a development model at the area of 3D animation in digital culture contents.

• Cartoon and Animation Studies
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• s.22
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• pp.47-63
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• 2011

Recently, contemporary cultural contents have been shown its diversity changes followed by the birth of new media platforms with consumers' new needs in the global market. Also, developments of Internet and computer system networks are the main contributors of making this changes happened rapidly. This study aims to know that how to usefully use those new media platforms through the great example of stop-motion animation music video by analyzing its production and marketing process. The music video production had been focused to be completed with high quality by adjusting the production process economically in spite of the relatively short period(less than one month)from its crank-up to the deadline. Because the production was planned that main characters lead the whole story, the creative team had been tried to reduce the production hours by commonly use the same mold when they make original clay models by collecting the similarities of characters' appearances. By using CG technic, could overcome the visual monotonous from the similarities which inferred above. Also, the repeated rhythm in the music video, the similar scenes of backgrounds were commonly used by copy of the original scene. At the point of directing, the creative team considered both economical and art aspects for the quality work. In details, they divided the scenes into foreground and background, and removed unnecessary parts to save the production hours and budget but make depth of fields in the scenes. Except the viral marketing purposes, was searching for the methods to compensate the production cost. For this, the characters in the music video dressed the same T-shirts which are world-cup logo on, and those were designed for the sale after released the music video. Even the result of the sales was not enough to satisfied, it was estimated a great attempt to the domestic animation industry.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2008.10a
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• pp.197-217
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• 2008

본 논문에서는 현재 국내의 디지털 음악 콘텐츠 산업에서 이슈가 되고 있는 정액제와 수익배분 비율 문제를 중심으로 수리적 모형을 사용하여 분석하였다. 특히 국내의 현황을 반영하여 음원권리자와 이동통신사의 문제에 더욱 초점을 맞추었다. 본 논문의 연구결과는 다음과 같다. 첫째, 이동통신사와 음원권리자 사이에서는 정액제를 선택하든 종량제를 선택하든 중요하지 않을 수 있다는 것이다. 중요한 것은 음원권리자가 수익배분비율을 그리고 이동통신사가 음원판매소매가격을 자율적으로 결정할 수 있어야 한다는 것이고 두 게임참여자가 서로 이익을 얻을 수 있는 수익배분방법과 비율이 존재한다는 점이다. 둘째, 정액제는 오히려 소비자와 이동통신사간의 관계에 영향을 미치게 되는데 이동통신사에게는 유리하고 소비자에게는 불리하게 된다는 것이다. 특히, 이동통신사와 음원권리자가 수직적으로 통합되어 경쟁하는 시장구조하에서는 소비자에게 불리한 경향이 더욱 심화되므로 정액제 보다는 종량제 가격의 하락을 통해서 온라인 음악 시장의 성장을 유도하는 것이 소비자에게 유리하게 된다. 이와 같은 온라인 음악시장의 성장은 중장기적으로 사업자들에게도 도움이 될 것이다.

• Asia Marketing Journal
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• v.18 no.3
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• pp.1-18
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• 2016

The purpose of this paper is to examine empirically how to balance advertising expenditure before and after launch with regard to the direction of word of mouth in the motion picture industry. The vector auto-regression model is applied to assess the dynamic impact of advertising and word of mouth on sales. Empirical data, including advertising, word of mouth, and sales (the number of entries) of 83 movies are used for analysis. The research results show that for a movie having more positive word of mouth in the pre- and post-launch periods, it is worthwhile to spend the advertising budget in the pre-launch period only and to spare it in post-launch period. However, it is worthwhile to spare the advertising budget in the pre-launch period for movies having less positive word of mouth before and after launch, and to concentrate spending in post-launch period instead. Mangers who handle products and services facing shortened lifecycles, such as games, eBooks, and digital music contents, need to check the quality of pre-launch word of mouth for their advertising budget decisions in the pre- and post-launch periods and spend more of the advertising budget in the post- (pre-) launch period if pre-launch word of mouth is negative (positive). For products and services with a shortened lifecycle, it is recommended to spend more of the advertising budget in the post- (pre-) launch period if pre-launch word of mouth is negative (positive).

• Journal of Korea Entertainment Industry Association
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• v.15 no.6
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• pp.1-13
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• 2021

This study explored the mechanism by which Trot gained a superior position in the broadcasting contents market after the TV Chosun audition program was broadcast. We analyzed the narrative structure of the program to determine what differentiation and popularization strategy the trot audition program took from the existing audition program, and analyzed in-depth interviews with music experts and interviews with the production team. appealed to viewers with a strategy that reversed the success strategy of existing audition programs. First, the strong/non-competent participants did not compete with each other, but rather the strong/skilled players competed against each other. This trot audition set the singing ability as a new 'discourse on sincerity'. Second, we broke away from the 'demon editing', which was considered essential for audition programs, took a strategy of excluding villains. Third, we broke the practice of audition programs that were supposed to show expertise in specific genres, such as idol music, hip-hop, and bands, and combined trot with various genres. Fourth, unlike previous audition programs that mainly targeted specific generations or genders, the strategy was to expand the audience by targeting various age groups. Fifth, it has formed a middle-aged fandom with a 'subtitle strategy' that uses subtitles well to arouse viewers' interest and help empathize.

• Korean Medical Education Review
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• v.12 no.1
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• pp.23-31
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• 2010

Medical humanities has become a third area of medical education following basic and clinical medicine. Also, in the national evaluation of medical schools, medical humanities education is an important factor. However, there are many difficulties in teaching medical humanities in medical schools. First, it is still an unfamiliar education area to medical schools and professors. Second, still, there is no consensus on the definition and contents of this education. Third, it is usually very difficult to find professors who have interest and the ability to teach medical humanities. Fourth, even medical students do not understand why they should study medical humanities and sometimes do not eagerly participate in class. This paper suggests some solutions for these problems. First, medical humanities need to be divided into sections according to how easily the contents can be accepted by existing medical education system and apply these sections in the introduction of this education gradually and in stage. One example of the division can be as follows: Group 1) medical ethics and medical law which can be most easily accepted. Group 2) medical communication skills which can be relatively easily accepted. Group 3) medical history and medical professionalism which is relatively difficult to accept, and Group 4) medical philosophy, medicine and music, medicine and literature, medicine and art, medicine and religion, etc. which is the most difficult to accept. In this paper, four things are suggested. Second, divide the contents into mendatory courses and elective courses. Third, allocate the contents throughout the four years from the first year though the fourth year according to the spiral curriculum model. This paper reports some new ideas and methods for medical humanities education. First, to stimulate students' participation, several methods were applied in a large size lecture and student projects. Second, the emphasis of writing in class and evaluation were discussed. Third, the provision of hands on experience is more emphasized than lectures. Fourth, inviting some doctors who work in non-medical areas such as journalism, pharmaceutical industry, etc is suggested. Trial and error is inevitable in this education, but it is essential in molding a good doctor, so medical professors who are interested or in charge of this medical humanities education need to share their ideas and experiences.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.196-207
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• 2015

This study introduced the concept of 'Media-content repertoire', which indicates the set of favorite media-content combinations of media users and extracted five media user types based on those combinations. We used the range of media(i.e., smartphone, tablet, PC, and TV) and entertainment content(i.e., movie, broadcasting, music, and game) for the analysis. Also, we investigated the differences between those types including demographic variables, individual characteristics, and content buying behavior and we found that statistically significant differences exist among them. Those include 'non-user'(i.e., lower level of media use), 'screen user'(i.e., 50s, TV-centered media use), 'variety seeker'(i.e., 20s. heavy public transport user), 'selective focus'(i.e., 20,30s, movie&broadcasting-centered media use), and 'heavy user'(i.e., high level of media use and consumption). The results provide both academic implications(e.g., extension of media repertoire concept) and practical implications(e.g., direction to the target marketing for each user type).

• Journal of the Economic Geographical Society of Korea
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• v.15 no.4
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• pp.695-707
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• 2012

This study focuses on the importance of macro socio-economic factors to explain the successes of Hallyu(Korean Wave). Studies of Hallyu have mainly discussed the contents of Hallyu products, emphasizing the excellence of Korean culture or cultural similarities in the East Asia. Analyzing cultural industrial factors, the study purports to contribute to more comprehensive explanations of Hallyu. To do so, the study analyzes the Japanese case, because Japan is considered as society where Hallyu is most institutionalized. The study suggests the importance of cultural exchanges between Korea and Japan as the background factors for Hallyu's success in Japan. In addition, the study shows the interactions of 'push factors' in Korea and 'pull factors' from Japan. As for push factors in Korea, this paper suggests the decline of music records(CD and DVD) industry and growing competition in broadcasting industry in Korea. Regarding the pull factors from Japan, robust music industry and changing broadcasting system are discussed. Although this paper try to suggest as many evidences as possible, the macro data suggested are not fully comprehensive enough to explain the importance of cultural industrial factors. In addition, micro-level analyses on the interactions among people who are working in the cultural industries are also necessary, and thus remained for the future studies.