• Journal of Arbitration Studies
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• v.26 no.2
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• pp.27-44
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• 2016

The use of program formats has slowly but surely developed into an important component of the television industry. This article examines the surprising gap between the constantly growing, multi-billion-dollar trade of program formats and their unclear and contradictory legal treatment. From both the social and commercial standpoints, television formats are valuable creations. Understanding the two products, the paper and program stages, of a television format and their respective markets, is fundamental to discussions of its legal protection. Interestingly, under current law, the less-developed stages of the process (program ideas and paper formats) are awarded more protection than the aired program format, which accumulates higher levels of investment, creativity, and expression. Internal industry mechanisms, such as vertical integration, damage to reputation, and industry institutions, exist in both markets and are still able to control and influence members' behavior to some extent. However, while the influence of internal industry mechanisms is still strong in the paper format market, in the program format market, which continues to grow, such mechanisms have weakened, amplifying the importance of a clear legal system. The absence of protection will certainly not completely eliminate the production of new program formats. However, these factors do not add up to a case against protection. The changes in the program format market in the last two decades support the theory that the overall effect of providing legal protection for TV formats would promote beneficial competition and encourage more original creations. The underlying question for television formats should not be whether to protect but rather how.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.709-719
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• 2016

This study reviews the so-called 'format-export' of Korean TV entertainment programs to China, and ahalyze its effect on the spread of Hallyu in China. Format export has developed as an alternative for the export of Korean TV programs when the Chinese government restrict the broadcasting of foreign TV programs. In so doing, the study conducted surveys about the format-exported programs in Shanghai and Zhengzhou with the sample of 381 university students. The survey shows that the popularity of entertainment programs is so high as to compete with the popularity of K-pop. Respondents in Zhengzhou tend to watch format-exported programs first and then try to watch original Korean programs, while respondents in Shanghai are more likely to watch original Korean programs. This results suggest that format-export can help the spread of Hallyu in the inland local cities in China.

• 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.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.8 no.6
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• pp.1648-1654
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• 2007

The purpose of this study is to understand how the reality show program spread into global with a variety effects on social and cultural phenomenon, and textual analysis of TV reality show program 'Scandals' with a specific status. As a result of this study shows that TV reality show program 'Scandals' involves in a characteristic and a diversity of TV genre. On the other hand, textual analysis of TV reality show program 'Scandals' is about understanding the situation which create meaning in TV industry with a negative aspects of phenomenon. More over, TV industry creates lower cultural aspects of situation relate in someway to the target audiences to whom they are aimed.

• Journal of Korea Multimedia Society
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• v.10 no.7
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• pp.869-881
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• 2007

In this paper, storing and removing method of broadcasting content is proposed for personalized consumption. The main objective of this paper is to keep personalized information, such as additional contents, user creation data, usage history, with broadcasting content, and user can consume broadcasting content to accommodate individual preference. Consequently, proposed file format in this paper is based on MPEG-4 and MPEG-21 file format because they can access and extract data within file format easily and can keep spatiotemporal relation between data. In addition, TV-Anytime metadata is used for program description metadata. Finally, proposed method is verified with file format player and useful application scenarios.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.51-63
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• 2014

This paper deals with how Korean television musical variety show rose and declined focusing the 'Show Show Show'. 'Show Show Show' was a Korean television musical variety show that ran on TBC-TV every Saturday night at 8pm. until TBC-TV was absorbed into KBS-TV in 1980. Its musical acts, of various kinds, were interspersed with comic turns and special items including dancing, mime, magic, and acrobat. Korean television musical variety show worked on what audiences had in common across generational divides till the late 1970s. 'Show Show Show's catchall format didn't cross the demographic lines like it used to. But the young generation demanded music program that spoke to their own condition in the early 1980s. 'Show Show Show' ended on KBS-TV in July 1983 through the influence of the absorption of TBC-TV into KBS-TV and the changes of cultural circumstances. The decline of the television musical variety show was attributable to the fragmentation of musical taste and the change of viewing behaviors.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.217-245
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• 2019

Recently, the interest among Korean broadcasters in the 'observation entertainment' genre has intensified. This study aims to analyze the genre and storytelling of observation entertainment programming from a narratological perspective. The origin of the Korean observation entertainment program began with the 'reality-variety show'. There was a 'real-life' debate in these reality-variety shows, and as an alternative, the observation entertainment program appeared. Documentary filming, omnibus composition, and spatialization of 'everyday' life have led to the recognition of observation entertainment as a single genre. In particular, 'observers' have become a key factor in the observation entertainment program. The subject of the program is determined by who the observer is. The variability of the program format is the same. The observer looks at the observation target on behalf of the viewer. At the same time, he or she serves as a narrator of the program. The observer functions as the most influential factor in the storytelling of the observation entertainment program. In the observation entertainment program, 'observation' is only a form. It is the observer who creates a narrative within this same format to make the difference between each program. Also, voyeurism has been considered a problem in reality shows such as observation entertainment programs. However, the form communicated by observers is not a direct peek, so much of the problem of voyeurism is mitigated. Such observation entertainment programs analyzed through observers are meaningful in that they make people understand the cultural meaning of "reality" in TV and the storytelling of contemporary Korean TV entertainment.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.2
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• pp.529-535
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• 2012

This paper attempts to the couple formation of date show program SBS as a hybrid genre. The characteristic of hybrid program emergent popular formation of television culture in our society, as well as encountered by audiences. It also implies that the visual culture transforms the popular elements of episode of television culture as a reality show program refer to central field of media industries. One final thing that date show program has been rapidly changed in terms of many different methods of format, as well as continued process of the date show program is an opportunity to raise the daily lives of fueling.

• Journal of Digital Contents Society
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• v.17 no.1
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• pp.1-10
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• 2016

< My Little Television > with the new format which extends one person media broadcasting to terrestrial broadcasting is creating a huge Topic Index. It started the first broadcast on April 2015 and has continued the number one in viewer rating in the same time. While viewers directly participate in the program through the Daum TV Pod and a host communicates with viewers in a real time, various opinions are being reflected on the program. While a lot of information about the program has spread through SNS, it has led to raising the viewer rating of program. Recently, the Topic Index on the program has been published through the big data analysis rather than the program evaluation only by the viewer rating. The research on the correlation between the program viewer rating and amount of buzz has increased. In this study, it has analyzed how the Topic Index which is an extended concept of the amount of buzz affects the viewer rating. Study results show that the Topic Index is analyzed to positively influence the viewer rating. It will give a lot of help in studying big data of SNS on the program.

• The Journal of the Korea Contents Association
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• v.15 no.3
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• pp.318-326
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• 2015

In the age of media convergence the influx of foreign TV content is quickly influencing the landscape of Korean media. The objective of this research is to analyze and explore the localization and Koreanization of Master Chef USA into Master Chef Korea and how its successful adaptation, transformation, and localization was made possible. The study pays close attention to TV personalities' relationships, behaviors and communication skills along with the choice of food ingredients and themes in the 2014 episodes for both Master Chef USA and Master Chef Korea. Furthermore, the research seeks to challenge the widely spread belief that localization of foreign TV content serves the public interest. Rather it seeks to articulate that depending on the media environment, private entities are becoming the benefactors of foreign TV content adaptations.