• Korean journal of communication and information
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• v.73
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• pp.7-34
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• 2015

This study attends to the effects of political entertainment as a newly emerging television genre on citizens' political talk. Particularly, this study suggests audience involvement and political information efficacy as key psychological factors that mediate the relationship between political entertainment and political discussion. More specifically, audience involvement was deemed as a conclusive concept that consists of such sub-dimensions as audience identification and parasocial interaction with program characters and transportation into the messages. Among 317 participants in an online survey, a total of 273 subjects, who had at least some viewing experience with political entertainment TV programs, were included in the final analysis. According to the findings, softer programs that piggyback political information on top of their entertainment content were more likely to increase viewers' identification and transportation. The viewer experience of identification further heightened the level of political information efficacy, which in turn positively contributed to one's willingness to participate in political talk and to hear the other side. It also appeared that political information efficacy significantly mediated the relationship between political entertainment viewing and political talk.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.39-60
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• 2019

The purpose of this study is to examine new types of political participation using the new media of digital convergence generation. For this purpose, groups were classified according to age and characteristics of media usage to investigate whether there are differences in media-related tendencies, SNS and characteristics of Smartphone usage political-related characteristics, and political participation by types. The results of the study is that the media usage characteristics by generation showed a difference between groups according to the high and low motivation for using media, and there was a generation differences in politics-related characteristics and types of political participation. Digital generation showed lower political involvement, political efficiency and offline political participation than Web 1.0 generation. In addition, political efficacy showed the moderating effect that had the greatest effect on political participation by types.

• International Journal of Advanced Culture Technology
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• v.3 no.2
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• pp.50-57
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• 2015

An online survey was conducted to assess motivations for using, reliance on, and perceived credibility of political blogs and microblogs during both the Taiwanese general election of 2009 (the blog epoch) and the presidential elections of 2012 (the microblog epoch). Results indicated higher reliance on and motivation for using political blogs than microblogs. Blogs were also perceived to be more credible than microblogs. Respondents who primarily engaged in blogging for information purposes were more likely to judge candidate blogs as highly credible, whereas interest in entertainment emerged as the strongest predictor of the perceived credibility of microblogs. This research also provided quantitative evidence showing how users viewed blogs and microblogs differently in the context of political campaigns. The aim is to explore the pros and cons of blogging and microblogging as a tool for political communication.

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.224-237
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• 2020

This study is about motivations of using YouTube channels related to politics and its effects on political socialization. Information acquisition from the political channels of YouTube was analyzed from the perspective of uses and gratifications theory. Then, the effects of the variable factors which can influence the perception-attitude-action of political socializations were reviewed. To understand aforesaid aspects, online survey was conducted targeting male and female adults between 20 to 50-year-old. There were four factors observed for the motivations of using YouTube channels of politics, which were 'entertainment of political satire', 'mental stability', 'convenience of the media', and 'pursuit of information'. The impacts on political socialization were verified with path analysis. Among the various motivations of using YouTube channels, 'convenience of the media' and 'pursuit of information' were the factors that positively affected the acquirement of political knowledges. Political knowledges had meaningful influences on increasing people's interest in politics, and their sense of political efficacy. Increased interest in politics led to higher level of sensing political efficacy, then higher political efficacy positively motivated people to participate in politics. The theoretical and practical implications of the study were also discussed based on the findings.

• The Journal of Art Theory & Practice
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• no.10
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• pp.105-118
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• 2010

This study discusses the community of participants in new media-based art of Taeyoon Choi, Wafaa Bilal and Mushon Zer-Aviv in relation to current discourses on social functions of art by Nicolas Bourriaud and Jacques Ranciere. Focusing on these artists' participatory projects which aim to provide alternative perspectives on wars between countries, to raise awareness about expanding surveillance systems in city spaces, or to create new public spaces on the web, this paper argues that their works hybridize entertainment culture and political activism to suggest a new model for political art.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.99-109
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• 2021

The purpose of this paper is to look at web entertainment in terms of marketing and analyze how consumers in Korea and abroad feel about it. To this end, methods such as literature research, case studies, and consumer interviews were used. The main conclusions of this paper are as follows. First of all, through the case of "Run BTS," the web entertainment program actively reflects the needs of viewers on entertainment content by utilizing the unique interactions of web entertainment in terms of products. In terms of price, web entertainment operated a paid service that contained more diverse contents. However, the degree of satisfaction with paid services was different for each age group or income of viewers. In terms of distribution, web entertainment can position viewers much more clearly than conventional TV entertainment, has strong communication with viewers, and is relatively free from political conflict or censorship in overseas exports. Finally, in terms of public relations, web entertainment is promoted in various ways to fans who are the mainstay of existing viewers, but public relations for various viewers other than fans are relatively weak. Based on the above analysis, this paper proposed ways to improve consumers of web entertainment by region, customized marketing by age, professional window for consumers to directly express their opinions on content, and wide promotion through various media.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.113-122
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• 2019

In the 1970s, under the tyrannical regulation and censorship of the Yushin regime, realistic dramatization techniques were forced to reveal their limitations. Choosing the 'allegory' technique, a double-meaning narrative structure, Lee Kang-baek sets up virtual spaces or unrealistic figures, both of which lack 'realism'. Lee Kang-baek has allergic the illusion of detadiscourse, the diaspora character, and the universality of 'Political Unconsciousness'. So it's linked to the perception of history in the 1960s. This creates a semantic network of public and casual perception of history. This was a 'bypass' strategy which more clearly disclose the violent politics. Therefore Lee Kang-baek's play shows the desperate situation of the diaspora character being oppressed by detadiscourse, and the desire of the author who can never give up on freedom of expression, though under that oppression. Furthermore, it was an attempt to acquire a timeless universality and symbolism about human freedom and liberation through the Allegory play technique.

• Journal of Information Science Theory and Practice
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• v.8 no.3
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• pp.77-90
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• 2020

This study analyzes N=181 social media rumors from Bangladesh to find out the most popular themes, sources, and aims. The result shows that social media rumors have seven popular themes: political, health & education, crime & human rights, religious, religiopolitical, entertainment, and other. Also, online media and mainstream media are the two main sources of social media rumors, along with three tentative aims: positive, negative, and unknown. A few major findings of this research are: Political rumors dominate social media, but its percentage is decreasing, while religion-related rumors are increasing; most of the social media rumors are negative and emerge from online media, and social media itself is the dominant online source of social media rumors; and, most of the health-related rumors are negative and surge during a crisis period, such as the COVID-19 pandemic. This paper identifies some of its limitations with the data collection period, data source, and data analysis. Providing a few research directions, this study also elucidates the contributions of its results in academia and policymaking.

• Asian Journal for Public Opinion Research
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• v.9 no.1
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• pp.25-47
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• 2021

This study analyzes 419 fake news items published in India, a fake-news-prone country, to identify the major themes, content types, and sources of social media fake news. The results show that fake news shared on social media has six major themes: health, religion, politics, crime, entertainment, and miscellaneous; eight types of content: text, photo, audio, and video, text & photo, text & video, photo & video, and text & photo & video; and two main sources: online sources and the mainstream media. Health-related fake news is more common only during a health crisis, whereas fake news related to religion and politics seems more prevalent, emerging from online media. Text & photo and text & video have three-fourths of the total share of fake news, and most of them are from online media: online media is the main source of fake news on social media as well. On the other hand, mainstream media mostly produces political fake news. This study, presenting some novel findings that may help researchers to understand and policymakers to control fake news on social media, invites more academic investigations of religious and political fake news in India. Two important limitations of this study are related to the data source and data collection period, which may have an impact on the results.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.65-73
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• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.