• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.111-119
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• 2012

This study examines determinants of user immersion for Korean drama and entertainment genre programs among Chinese students in Korea. The major results are as follows: firstly, user immersion for entertainment genre was more greater than that of drama genre. Although drama was tended to evaluated based on star appearance and narrative structure, entertainment program was favored by its pleasure and vividness. Secondly, there were gender differences for entertainment and drama genre programs between male and female respondents. Also, there was a correlation between drama immersion and duration of stay. Thirdly, although determinants of drama immersion were program characteristics, duration of stay and drama preference, those of entertainment immersion were program characteristics, appearance of star players and entertainment preference.

• Cross-Cultural Studies
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• v.26
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• pp.273-296
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• 2012

The purpose of this paper is to examine the characteristics of American film (genre drama) through the analysis of , which merits our attention because the proportion of domestic gross earnings to foreign gross earnings is four to one. It means that the cultural discount rate of this film is relatively higher than the films which belong to the other genres, for example adventure, action, fantasy, SF etc. And it would be correct to say that this film is typically american. What is the reason of this difference of cultural discount rate? And what allows this film to be defined as a typical American film. The analysis of shows that the difference doesn't result from the actant structure. In fact the narrative structure of this film is similar to the other films of drama genre like or : the common structure of drama genre is characterized by an encounter of sujet and adjuvant and the progress of their relationship. But the drama is a genre in which the reflection of the actualities is important as compared with other genres. In that sense the story of is based upon the American cultural characteristics. Because the process that realize the progress of relationship between two protagonists is typically American such as race problem, adoption system, concept of family, system of education and going to college etc. As a result it is possible that move less the worldwide spectators than the American spectators.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.168-180
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• 2013

Based on the strategic contingency theory, this study empirically examines Korean TV drama producers' changing adaptive behaviors in terms of genre variety given different levels of environmental uncertainty. The extant literature has suggested that firms tend to increase product variety in order to cope with increasing environmental uncertainty. This study attempted to verify the hypothesis that TV drama producers would employ wider variety of genre in the period with more uncertain environment(2003-2009) than the period with stable environment(1994-2002). Empirical results support the hypothesis, implying that TV drama producers tend to repeatedly produce dramas with the same genre in order to pursue efficiency in stable environment whereas they tend to employ a variety of different genre in order to cope with increasing environmental uncertainty.

• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.734-743
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• 2021

TV drama , aired on JTBC in 2018, used several fictional and linguistic clues on the murder case. It effectively delayed the process of inferring the perpetrator by utilizing 'ambiguity' and 'trap', which enabled the double interpretation of the the main character's diaglogue and action. This delay could be made by employment of genre hybrid, cognitive process and knowledge of viewers about typical romance plot and mystery plot in TV drama. In other words, could be evaluated as a special genre hybrid case that disturbs viewers' perception of genre in that the correct reasoning process began from the point that overturned the viewer's expectation about typical romance genre dramas in which male main characters mostly devoted to love. The complicating mystery structure shown in is against the opinion that the traditional mystery structure is difficult to succeed in TV dramas. Also, from the perspective of hybrid genre, it is different from the usual mechanical combination of two different plots. These characteristics in are worth to highly evaluated.

• International Journal of Advanced Culture Technology
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• v.7 no.1
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• pp.174-185
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• 2019

The purpose of this study was to research the experimental dance drama of the world-class choreographer Pina Bausch who, in the latter half of the twentieth century, broke the boundaries of genres with radical experimentation and overcame the limits of expressionism dance tradition, creating her exclusive dance drama. Pina Bausch was born in Germany and naturally inherited the expressionist dance tradition, but did not stay there and introduced the post-Brecht drama theater through radical experimentation. Her bold attempts have overcome the limitations of the expressionist tradition and have revolutionized the genre of dance and have played a role in expanding dance arts while pioneering her own dance language.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.169-216
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• 2019

This study proposes the concept of Bachchin's Chronotope as a tool for analyzing coevolution between the genre of the epic and society. Bachchin says through the concept of chronotope, literary works are on the foundation on which the axs of time and space intersect, and the literary works standsuch intersections are always conversing with social and historical chronotopes and mutually penetrating. Thus, finding and analyzing chronotope in literary works and extended things such as films and dramas reveals how chronotope and chronotope of a society have created specific social realities through a process of resonance. To make analytical use of this concept, we proposed a "cronotope drama analysis method" and concretely analyzed the genre of Korean medical dramas. The naturalized categories of health care, health, and disease are socially constructed entities, and the analysis of public works that has a significant impact on this process of social construction is essential but was underperformed. According to the analysis, the Korean medical drama's "Chronotope" has evolved using "Chronotope of the school" and "Chronotope of the secret chamber". At this time, the genre of Chronotope was expanding spatially and converging in time. In other words, the influence of structures and systems within the genre has grown, and the capacity of individual actors has decreased. This change in chronotope was interpreted as resonating with the social reality of neo-liberalistic spatial expansion and simultaneous production. The neo-liberalistic trend that dominates Korean society has embraced the category of health care and was further influencing the chronotope of drama text. It can also be inferred that the popular understanding of health care produced by the medical drama genre has taken a break in the process of forming a social reality of health care again.

• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.102-112
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• 2010

This study is the secondary full-scale research of a TV drama writer, who has been out of scholarly pursuits. This study examines the Su-Hyeon Kim's differential and tendency in home-drama genre, who has been constructing a general idea of TV drama genre, namely a home-drama, and a melodrama. The purpose of this study is to reconsider the meantime both of exclusive evaluation by the functional measure of social norm, also by the feminism-based evaluation of her drama's supporting role of patriarchal gender ideology. By focusing on her recent highly popular home-drama (2008), this study shows that the writer used her own category grammar strategy of harmonizing both of convention and invention in genre. The conventions in genre are 'a big family', 'a pluralistic construction' 'a realism based on a everyday life', and 'a theme of love of a family with happy ending'. The invention in genre are 'a change of the 1st generation patriarchy', 'a change of the 2nd generation role of a housewife' and a change of the 3rd generation marriage customs'. Also this paper presents that the writer showed a humanistic tendency that pursues a recovery of both 'humanity' and 'love of family based on trusting', which have been destroying by capitalistic ideology, rather than discussing whether her tendency on the gender ideology of patriarchism is conservative or not.

• The Journal of the Korea Contents Association
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• v.12 no.11
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• pp.68-75
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• 2012

The terrestrial television broadcasting has increased the number of the specialized job drama in the programming in 2000's, for overcoming the limit of the materials and reflecting the new sociocultural phenomenon valuing the specialized job. This drama benefits from good audience and huge fans, while the low average rate of audience shows the limit of competitiveness of this new genre. The text analysis clarifies three traits of the specialized job drama. At first, this genre is characterized by the variety of materials and the attempt of realistic description. Then, its narrative structure is organized so as to develop a story based rather on the success of career than on the relation of love. Finally, its last trait lives in the character of the heroes which is a creation based on the narrative structure.

• Korean journal of communication and information
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• v.51
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• pp.47-64
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• 2010

Korea film market is heterogeneously divided market that comes from competition between Korean movies and foreign imported movies. This research empirically analyzes genre differentiation in Korean film market with three dimensions (film audience preference, production and import, box office hit). The results indicate that, first, audiences who preferring Korean movie preferred 'cultural factor oriented genres', but audiences who preferring foreign movie preferred 'high budget oriented genres'. Second, imported foreign movie genre distribution was little bit different with box office hit genre of foreign movies. Foreign movie was imported not only hit genre (action genre) but also low cost genre (comedy and Drama/melodrama genre), but most of all Korean film was produced in box office hit genres (comedy and Drama/melodrama genre), third, Korean movies hit a box office in comedy and Drama/melodrama genre, but foreign movies hit a box office in action and SF/Fantasy genre. Those results show that Korea movies' genres are concentrated very much in cultural factor oriented genre. Those results can give implication of diversity policy and movie production strategy of Korea film market.

• 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.