• Review of Culture and Economy
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• v.20 no.1
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• pp.81-104
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• 2017

This study aims to examine the transformation of the heroic narrative in the successful Korean Wave drama. In this study, TV drama "Descendants of the Sun" which gained tremendous popularity at home and abroad was considered to be an example of the heroic narrative model proposed by Vogler. Further, two analysis points were identified as the critical factor of success: modern transformation and global transformation. Modern transformation is about distinct characteristics of Korea, found in three primary factors of the work: the setting up of a character, the development of events and the background set-up. Global transformation features universal value to attract foreign viewers by lowering cultural discount. In "Descendants of the Sun", humanism is considered to broaden the horizon of the work by affecting above three factors. In conclusion, It is the proper combination of these dual transformations that globalize Korean drama. In this regard, this study will be a meaningful attempt to shed light on the storytelling strategy of Korean dramas in terms of the heroic narrative.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.579-583
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• 2008

Web pages with complex layout and small font size do not display well on large screen display such as TV because it has limited capabilities: long distance view, passive user attitude, limited input device like a legacy remote controller. We have designed and implemented new semantic zoom browsing facilities to support effective navigation on Internet-connected digital television with limited capabilities. Our browser performs partitioning of an HTML document content into semantic blocks. Semantic blocks present summarized information with more readable style and modified layout for optimal reading and browsing. Individual blocks can be selected by the user and zoomed in more detail information by the user. The scrolling on large display device needs more user interaction. Our browser modifies the layout of an HTML document with removing horizontal scrolling and minimizing vertical scrolling. This method allows users to easily view the web page by converting into optimal reading style and layout and to easily seek the information just with zooming.

• Cartoon and Animation Studies
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• s.44
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• pp.285-306
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• 2016

With the increase use of smartphones, users can consume contents such as webtoon, webnovel and TV drama directly provided by the producers. In this Direct-to-Consumer era, webdrama services from the portal websites are increasing rapidly. Webdramas such as , , and can be analyzed in real time using responses such as unique users, likes, and comments. The analyses used in this research were Social Media Big Data Mining Method and Opinion Mining Method. Specific key words from webdrama can be extracted and viewers positive, neutral or negative emotion can be predicted from the words. The analyses of popular webdramas showed that the established K-Pop Idol member appearance and servicing portal site greatly influence the views, traffics, comments, and likes. Also, 'Mobile TV' proved the effectiveness as another platform other than television. Mobile targeted contents and robust business models still to be developed and identified. Overcoming these few tasks, Korea will be proven to be a webdrama content powerhouse.

• The Journal of the Korea Contents Association
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• v.13 no.4
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• pp.97-103
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• 2013

The research is centered towards analyzing the differentiation of the characteristics and organization of programming strategy and channel positioning by selecting Korean International Public Relations Broadcasting Stations Arirang TV and KBS World. According to the results, Arirang TV positions Korean culture content-implied educational programs as their strategy while KBS World places the main programs of KBS1, 2TV with many entertainment programs such as dramas and entertainment shows. Arirang TV's programming strategy is well-fulfilling the purpose of promoting Korea's culture contents by organizing their programming with documentaries, tourist information, and daily living information. On the other hand, KBS World works as the agent of the spread of the Korean Wave by filling their program with dramas and K-pop programs such as . Due to the difference in programming strategy of these two broadcasting stations, Arirang TV has positioned itself as a diplomatic channel to spread Korean culture and KBS World a channel representing the Korean Wave. However, there are problems of inefficiency due to recurrent investments because of the fact that both broadcasting stations' programming strategy is to promote Korean culture and spread the Korean Wave by aiming similar targets such as foreigners or overseas Koreans.

• Korean journal of communication and information
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• v.48
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• pp.231-256
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• 2009

The purpose of this study is that we regard the notion of reality that television viewers feel as presence, point out problem of measurement tool that appropriate for TV, clarify the subordinate concept of presence, and develop measurement tool that have reliability and validity. To achieve this, we paid attention to reality of television as a determinant of presence and tried to elicit proper subcategories. That is, we progressed two steps research that distinguished external characteristic and content of the media into sensible reality and cognitive reality, and develop measure item and verified statistical validity. We analyzed the second research result about measurement category of presence selected by first research and then we did Exploratory factor analysis and Confirmatory factor analysis. As a result, the first characteristic that make people experience presence is sensible reality, that is, it is the factor of sensible faithfullness, image faithfullness, and image reality as the form factor of the media. The second characteristic is cognitive reality. That is the factor of social reality, relational reality, and practical reality as the factor of media content. Synthesizing these subordinate factor, we can conceptualize presence experience as a reality of media form and content in HDTV viewing environment.

• Journal of Digital Convergence
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• v.17 no.1
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• pp.301-311
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• 2019

Digital convergence put a huge challenges for broadcast media in terms of integrating user generated content (UGC). Keeping this in mind, objective of the study is to explore the factors that affecting UGC's integration in Broadcast channel from developing countries' perspective. We explored how and why UGC are appearing in Bangladeshi Television news. In-depth interview was used and news editorial level staffs were selected from leading Bangladeshi television channels. Findings suggest that, state interventions in crisis events and lack of experiences to handle crisis reporting played a crucial role to incorporate UGC in television news bulletins. One of the significant findings is that, mere traditional guidelines and work policy of the media houses will not be enough to handle user generated content as well as citizen's participation in news media. Thus, we recommend to formulate a comprehensive user generated content integration policy in the context of Bangladesh.

• Journal of Broadcast Engineering
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• v.5 no.1
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• pp.94-101
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• 2000

User adaptive reception of broadcast programs includes the functionality such as the user adaptive filtering and browsing functionality. The user adaptive filtering means that the user can limit the list of programs to include only his/her favorite programs among hundreds of available programs. The user adaptive browsing means that the user can view a short summary of his/her selection in the way that he/she prefers. When the receiving system include the random access storage device, the automatic recording functionality of users favorite programs can be included. The user adaptive reception requires support from various meta-data such as user preference data and content description data. TV Anytime forum is a standardization effort to enable user adaptive TV reception, which means that the user can watch what s/he wants when s/he want in the way s/he wants. MPEG-7 includes not only the content description for broadcast applications but also other content descriptions such as structure information. This paper addresses the relationship between MPEG-7 and TV Anytime and investigates how MPEG-7 should be designed and be used to satisfy the requirements of the user adaptive reception of broadcast program.

• Journal of Korea Multimedia Society
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• v.8 no.6
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• pp.814-826
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• 2005

The user-centric broadcasting environment includes the agent system and personalized broadcasting services for user-adaptive TV watching. In this paper, we propose broadcasting environment consisting of personalized broadcasting services and a multi-agent broadcasting system for the services. The proposed system employs the intelligent agent technology of the Foundation for Intelligent Physical Agents (FIPA) as well as metadata technology of MPEG-7 and TV-Anytime Forum (TVAF). To verify the usefulness of the proposed environment, we implemented a test-bed and demonstrated the proposed agent system with three services including intelligent user-information management service, information mobility service, and content retrieval service.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.45-71
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• 2019

Through the expansion of platforms in the media era, this paper notes the phenomenon in which 'high-teen romance drama,' a genre which had been marginalized in the past, began to re-emerge. It analyzes the 'high-teen romance drama,' which is moving from TV to the Web and being produced in various ways, while successfully returning to the TV drama format. This study sums up the latest trends in TV and web-based high-teen romance dramas, and as a case study, this paper examines the characteristics of the 'high-teen romance drama' in relation to the platform's environment through the web drama A-Teen, TV drama 18 Moment. Due to the restriction of ratings, high-teen romance dramas have been one of the largely marginalized genres on television. But in the web space, high-teen romance dramas are no longer non-mainstream. The high-teen romance drama has been solidifying its position through the Web, with absolute support from young viewers. Web dramas are gradually expanding their influence on the genre and subject of TV dramas. The high-teen romance drama is one of the most prominent examples of this trend. The popular interest and success of the high-teen romance web drama has brought the forgotten high-teen romance drama back to TV. The web drama A-Teen is a high-teen romance drama about everyday life and love of high school students, and became one of the most popular and popular web dramas, leading to a Season 2. A-Teen actively utilizes teenage culture and expression, and a strategy that leads to empathy among teenage viewers. In A-Teen, love is recreated in a way that relieves the depth of overconsumption emotions. Instead of dealing in depth with the inner conflict over love, it takes an approach ofpresenting the emotional change of love in real time and forming a consensus with the acceptor. The TV drama 18 Moment is one of the programs that has helped refocus attention to TV-hitting romance dramas. 18 Moment underlines the growth of the characters, with the main characters reaching maturity through love as fresh and innocent teenagers. The TV drama 18 Moment is a high-teen romance drama that has been transformed into a way to apply the web-fadding high-times grammar while retaining the typicality of existing TV hagwons to suit the TV broadcasting environment. As the Internet becomes more ubiquitous, video content is changing based on the newly emerging platforms. Dramas no longer mean just traditional television media. While considering the limitations of TV, this paper analyzed the background of the rebirth of the high-teen romance drama, which had been marginalized, through the web platform. This is meaningful in that it identifies and considers the increasing popularity of this genre of drama.

• International journal of advanced smart convergence
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• v.4 no.1
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• pp.18-30
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• 2015

As the speed of networks that subscribers can use has greatly increased, demand for high-quality broadcast content, such as from Internet Protocol Television (IPTV) and Video on Demand (VoD), is likewise increasing. Therefore, while broadcasters are increasing content and channels, they are striving to improve consumer quality of experience (QoE) to differentiate themselves from competitors, including by producing higher physical-quality content. Recently, subjective measurement methods have been internationally standardized as the most reliable approach for measuring and evaluating IPTV QoE. However, a majority of these methods are performed in experimental environments and are based on the extremely brief viewing period of approximately ten seconds using original reference videos. It is actually difficult to apply standard evaluation methods based on a ten-second viewing interval to assess real broadcast watching of IPTV or other services that involve a longer time (i.e., more than thirty minutes). In this paper, we therefore propose a method that accommodates actual viewing environments. Using the mean opinion score, we experimentally analyze the effects of evaluation interval changes under actual conditions in which IPTV service is provided. In addition, we propose improvements by applying the results into actual live broadcast IPTV service and by analyzing consumer service QoE.