• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.6
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• pp.302-308
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• 2020

This study investigated when TV drama producers choose famous actor/actress based on 288 TV dramas aired in Korea from January 2014 to December 2017. We considered the length of drama, measured by the number of episodes, as a major determinant for choosing famous actor/actress, as well as the existence of originals, use of independent producing agents, and producers' fame as interacting factors between length of drama and choosing famous actor/actress. We detected that drama length had a significant effect while original dramas had an interacting effect. We interpret this result as the effect of mismanagement of drama producing. While a famous actor/actress has the potential to provide economic gains to drama producers, drama producers should be careful in choosing him/her since his/her drama guarantee should be high. This is why producers should choose a famous actor/actress when the length of the drama is short and should prefer an original drama.

• The Journal of the Korea Contents Association
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• v.17 no.8
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• pp.351-365
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• 2017

Illness has long been an important plot device in Korean dramas. In earlier years, the device typically was supposed to be in the form of a terminal bodily disease occurring for the female main character toward the end of the story. On the other hand, the latest trend is to situate a mental illness for the male lead character at the earlier part, and use it as a tool to build characters, construct causal relations and set the intense tone for the overall story. The mental illness as a plot device helps to provide a series of reversals, revelations and turnarounds, giving viewers a stronger sense of intensity, empathy and identification. While the illness used to play the role of a deus ex machina to make a big emotional finish, the latest adoption of the mental illness as a main plot device has enhanced the flexibility of the plot and the effect of versimilitude in dramas. These noticeable changes make one suspect that the focus of Korea's drama contents might have already begun to grow out of the conventional soap operas into different genres.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.32-46
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• 2011

The study researched the characteristic of helmet and armor reflecting Joseon Dynasty by focusing on the helmet and armor appearing in dramas, the Tear of Dragon and King Sejong, whose common point is the historical background, the early Joseon Dynasty, among the historical dramas, which are manufactured on the basis of historical person or age. First, the helmet and armor appearing in historical drama was reproduced on the basis of historical record depending on age. In the early Joseon Dynasty, helmet was classified into cheomju and wonju and armor was classified into chalgap, swaejagap, gyeongbeongap, dujeonggap and dudumigap. In drama, the Tear of Dragon and King Sejong, for helmet, cheomju and wonju were used and for armor, chalgap, dujeonggap and dudumigap, whose type and manufacture method were similar to that of historical record, were reproduced. Second, the helmet and armor appearing in historical drama searched for function. In drama, the Tear of Dragon, rather than heavy iron, plastic and textile were used and the metal scale inside armor was removed. In drama, King Sejong, the weight of armor was decreased by removing the metal scale inside armor and easy wearing was secured by using velcro. Third, the helmet and armor appearing in historical drama expressed various dramatic interpretations. In drama, the Tear of Dragon, the same color as that of armor was adopted for helmet to provide stable and unified feeling. Visually splendid display was added to armor by matching powerful prime color and glossy metal. In drama, King Sejong, modem sense was added to helmet and armor by actively using pastel color reflecting modem fashion.

• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.27-41
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• 2013

This study is to examine the costumes of Gyeokgu in different situations and to suggest when and how they should be used in historical drama. Gyeokgu is a type of polo game that was played in Korea and it was also known as Gyeokbong and Bonghee. The accounts of the game show that it was played during the South-North period as recorded in Balhaego, Haedongyeoksa, and Goryeosa until the Joseon period. The scenes of Gyeokgu have been shown in some historical dramas in order to make the story exciting or to show the life of royalty. The costume of Gyeokgu in the South-North period should be suggested Danryeong(團領), Bokdu, and Haw(靴) in a formal situation. The Gyeokgu in the Goryeo period was a sport for royalty. So the Gyeokgu costume in the Goryeo period was required to be worn with Danryeong(團領), Bokdu, and Haw(靴) for the kings and military officers in the early Goryeo period and with Cheollik(帖裡), Balip or Huklip(黑笠), and Haw(靴) from the middle of the Goryeo period. Women could wear Chima(skirt), Jeogori(blouse), Pyo, and Li(履) when they play Gyeokgu in the Goryeo period in the historical dramas. The Gyeokgu in the early Joseon period was a sport for the kings. After the king of Sejong, the Gyeokgu became a martial art for the military officers. The costume of Gyeokgu in the Joseon period should be Red Cheollik(紅帖裡), Kwadu, Jonglip, Gwangjodae(廣組帶), Sagu, and Haw(靴) as recorded in Muyedobotongji in the 18th century. The kings, servants, and military officers could wear the Cheollik and should be made in the different Git(collar), shape of the sleeves, and the proportion of the upper part and the underpart in each period properly. When the citizens play Gyeokgu, they could wear Geon(巾), Baji(pants), Jeogori(shirt), and Gipsin in the late Joseon period.

• Archives of Craniofacial Surgery
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• v.13 no.2
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• pp.95-98
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• 2012

Nowadays, plastic surgical operations are increasingly being performed in Korea. We have gained added interest in this because some professional pictures contain plastic surgery in their venue. In the films, we intend to see the recognition of society for plastic surgeons and which field of plastic surgery. The list of movies for analysis were 'Plastic Beauty (1975)', 'Penthouse Elephant (2005)', '200 Pounds Beauty (2006)', 'Cinderella (2006)', and 'Time (2006)'. The TV dramas were 'She is looking (2005)', 'Lovers (2006-2007)', and 'Before & After Plastic Surgery Clinic (2008)'. Films were analyzed according to the following: the chief complaints and names of the operations, character of plastic surgeons, result of the operation and its possibility in reality, and its effect of plastic surgery on the life of the patients. Most of the film contained facial transplantation or the change of the face or body different from the original shape. Character type of the plastic surgeons was mostly medical realism, rather than ideal humanism. Most of the plastic surgeons have capability as a doctor; however, some of them had extramarital affairs. The surgery was successful in most of the cases, but were the patients happy with the results? This was not the case in the movies. In only one movie, '200 Pounds Beauty', the patient became happy; rest of them were eminently unhappy with the outcome. Why the discrepancy? It is difficult to analyze the minds of the people in the films, but considering that the majority of the characters in the films were rather unsavory, one may deduce that a crooked mind functions differently. Perhaps it is too much to hope for a day that will come when we will see a film that portrays the mental anguish that accompanies each and every procedure the Korean plastic surgeons make.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.123-161
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• 2019

The popularity of melodrama indicates that melodrama is composed in a historical context. This is the reason why it is necessary to analyze the imagination of melodrama within a sociocultural context rather than asking the essentialistic question of "What is melodrama?". (2016) and (2018) caused sensations while holding unchallenged top positions in terms of viewing rate and popularity. These dramas indicate the popular imagination and desire of Korean society in the 2010s during a period of upheaval. This paper analyzed imagination in melodrama with a focus on nation and emotions of individuals in and . In preexisting dramas, conflicts are often limited to individuals and families; on the contrary, in and , a nation appears as a motif that forms conflicts between individuals. In these intense situations of conflict, people make rational judgments at first; however, they soon dispose of such judgments and reveal value-oriented attitudes through emotions, which drive actions. Both dramas form poésie mainly through poetic rhyming and the mise-en-scène of objects. The dramas also amplify emotions. The main emotions of these dramas are sympathy and sadness. Such emotions are not consumed in itself; instead, they show moral aims through performativity. Consequently, sympathy becomes solidarity, and sadness becomes mourning. Unlike preexisting melodramas whose endings were simply pursuits of love and happiness within the realm of individuals, and demonstrate a moral imagination that simultaneously reminds us of the individual and community through solidarity and mourning.

• The Research Journal of the Costume Culture
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• v.27 no.3
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• pp.239-250
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• 2019

Recently, young people wearing hanbok are highly visible in the palace and in Hanok Village. However, there is much controversy regarding whether the hanbok the young people are wearing is traditional. Young people in Korea are exposed to hanbok through a variety of ways such as school education, games, webtoons, television shows, and movies. In this study, we presented teenagers with illustrations of hanbok to see which they preferred and which if any they recognized as traditional. The study respondents most preferred the hanbok from the 18th century, but they considered the hanbok from the 20th century to be the traditional style. We next used text mining to analyze the students' freely written, open-ended responses regarding the hanbok they preferred and the one they considered traditional. The hanbok from the 18th century, the one the teenagers preferred, was a sexy, cool style related to gisaeng that emphasized the waist, whereas the hanbok they believed was traditional, the $20^{th}$-century hanbok, was simple, neat, comfortable, and plain. Among the young people's responses regarding which hanbok was traditional, the text mining extracted the following repeated words related to both the 18th- and 20th-century hanbok: "dramas," "mass media," "historical dramas," and "movies." For the 18th-century hanbok only, we extracted "webtoons" and "Hanok Village," and for only the 20th-century hanbok, we extracted "textbooks."

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.93-109
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• 2012

The purpose of this study is to examine the modern men's fashion coordination to see the image in the center of TV dramas in terms of Habitu that is formed within hierarchy and class. The subjects range is included fashion style, color, accessories, hairstyle and appearance. 950 pictures used in the analysis sheet. In research methods, content analysis and basic statistics were used. The results of this study were as follows. First, the hierarchy image formed by Habitus is significant difference. The upper layer is coordinating elite luxurious and prestigious image of the fashion styles. The middle layer is coordinating neat and capable image. The lower layer does not care about the appearance and image appearing weary life is coordinating. Second, the class image formed by Habitus, CEO often interests in fashion image coordination. Senior executive is represented clean and luxurious image. General white color dresses in a suite such as office look. Blue color does not care about the fashion coordination and is expressed an easy dress for labor. Architects of the unstructured free-spirited image is represented. Physician and resident physician dress in shirts, no pattern tie, pants, robe. And they is coordinating neat and tidy attire to represent professional and reliable image.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.707-715
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• 2016

The most important role of actors is to transmit the thoughts and feelings to the audience or viewers. The expression methods of acting of each genre are clearly different. In order for the actors to act, crossing over the boundary of each genre such as movies, TV, dramas, musicals, they should understand the characteristics of each of the subdivided genres. If they understand the characteristics of the acting method different from one another and acquire the expression method to adapt to the spatial circumstances of each of the media, it becomes freer to act, crossing over the boundary of each of the genres. For the sake of this, actors must understand and acquire the characteristics of each of the genres. First of all, it is important to understand the difference between acting in the media and acting on the stage and to understand the characteristics of each of the genres.

• Trans-
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• v.13
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• pp.91-116
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• 2022

Web series, as one of the products in the network era, are different from traditional TV dramas, With the contents preferred by youngsters, wed series, as a form of fast food culture, are increasingly gaining popularity, such as being uploaded on online video platforms like Naver TV and Youtube. This study aims to examine the characteristics of narrative closure and continuing serial form of Youth Web Series through the youth web series production company "playlist original" in Korea and analyze the narrative structure caused by narrative closure and continuing serial form and nonlinear narratives.