• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.171-176
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• 2021

This article analyze that the everyday life shown in reality entertainment, and examine the semiotics of reality entertainment and the everyday life. With the perspectives of Guy Debord and Olivier Razac, the everyday life in the reality entertainment be concluded the Spectacles of everyday life. And it brings to Barthes's structure of Myth, designs the stricture of reality entertainment. Unlike Debord and Razac, who only refer to the public as passive audience, today's consumers are capable of active interpretation and consumption-the active audience. Instead of criticizing only the media's adverse function, Spectacle, I would like to suggest that the everyday life story-telling of reality entertainment can be interpreted as the recovery of the audience.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.15-24
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• 2019

Hollywood traditional movie companies are continuously challenged by new-type companies represented by the streaming content platforms. Based on the latest market statistics, and with a multidimensional approach involving the production, distribution, projection and overseas market, etc, this paper analyzes the changes and development of North American movie industry in its process of coping with the globalization and digitalization of media in 2018, and summarizes the effective measures for Hollywood mainstream movie companies to adjust their own structures and operation mechanism to maintain their development in the environment of new media consumption.

• SUVANNABHUMI
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• v.16 no.1
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• pp.125-143
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• 2024

Korean dramas, commonly referred to as Koreanovelas or K-Dramas in the Philippines, have significantly influenced and reshaped Philippine television culture since the early 2000s. Their impact persists in contemporary television programming, reflecting the transnational flow of media texts across borders. As media content transcends geographical boundaries, local media companies have adopted the practice of producing adaptations of foreign television series for their audiences. This paper examines the adaptation of the Koreanovela The World of the Married into the Philippine series The Broken Marriage Vow, both of which are adaptations derived from the British show Doctor Foster. Through this comparative analysis, I argue that the process of localizing these television shows to suit the preferences of the target audience serves as a tangible manifestation of transnational adaptation. Particularly in an era of globalization, where entertainment is still a thriving enterprise, thus traversing international borders, this phenomenon demonstrates the evolving nature of television content as it adapts and caters to diverse cultural contexts let alone a profitable means to generate an ailing entertainment industry, especially in the time of the pandemic.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.19 no.3
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• pp.41-51
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• 2019

This study explores the structure and the content of WWE Network, an entertainment Over The Top(OTT) produced in the United States. These days, a lot of companies all around the globe provide Internet streaming service OTT, and Netflix could be a great example of that. This study focuses on researching WWE Network of World Wrestling Entertainment(WWE). WWE Network is distinguished in a way that it is based on wrestling which combines sport and entertainment, and it is a suitable subject as it is not of wide range. Through this, it not only studies the structure and the content of WWE Network, but also explores the general market of OTT.

• Journal of Internet Computing and Services
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• v.17 no.2
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• pp.109-118
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• 2016

Big data, thanks to the development of data sciences, has been key words for economic development and governmental policies. This study reviewed how big data has been used with entertainment contents since the uses of big data in the fields have been more popular and the cases making successful business have been reported. To do ends, the changes in production, distribution, and consumption of entertainment contents have been characterized and prime cases have been introduced. Furthermore, Korean production companies of entertainment contents, Bloter and NEOTOUCHPOINT, were selected to investigate how big data has been utilized. It was found that the companies used big data to analyze consumers' behaviors and gain insights of content creation, such as identifying specific elements of enjoyments and conditions to share the contents with others. The domestic entertainment companies are preparing a full-scale of use of big data but, in order to take advantage of big data, collaboration between developers and experts in the field and specific goal-setting and model building are recommended.

• Journal of Internet Computing and Services
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• v.22 no.2
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• pp.89-107
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• 2021

This paper explores the empirically analyzes the competitive nature of the five social media by analyzing the proper SNS service such as Facebook, Instagram, YouTube, Pinterest, and Twitter. In this study, we surveyed the use and satisfaction of social media for SNS users by using the proper theory. A total of 224 users were selected for analysis. Based on the results of the questionnaire, factor analysis was carried out to extract common factors such as relationship, sociality, convenience, daily life, and entertainment. As a result of the research using proper analysis, Facebook showed the widest narrowness in sociality (.627) and convenience (.636) in the first place, and YouTube showed the lowest in daily life (.670) and entertainment (.615) In the relationship (.520), the Instagram was the widest. In terms of five factors, Facebook and YouTube have the greatest overlap in relationship (1.826) and sociality (2.696), while Pinterest and Twitter are the most common in daily life (1.937) and entertainment (2.263) There is redundancy, and for convenience (2.583), YouTube and Twitter have the most redundancy. Facebook, Instagram, and YouTube have a competitive advantage over Pinterest in terms of relationships, sociality, convenience, routine, and entertainment, and are competitive across all factors except Facebook, Instagram, and YouTube Twitter It is possible to confirm that it is superior.

• Journal of Digital Convergence
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• v.17 no.2
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• pp.399-404
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• 2019

This study proposes a strategy for developing Korean entertainment video service by studying the current status of user's experience of OTT(Over the Top, online video streaming service), mainly Netflix and Watcha Play. Firstly, as case study research, I investigated the features of domestic video streaming services and that of foreign services and K-content service needs. Secondly, I interviewed eight Netflix and Watcha Play users to understand the user experience and the demand for K-content video streaming service. As a result, I was able to derive two points about the strategy. First, isolated channel strategy. Second, content diversification and personalization strategy. This study is meaningful that it presented a strategy for the direction of the Korean entertainment industry. I hope that the follow-up study will help improve the Korean entertainment industry and help develop Korea's entertainment strategy.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.6 no.1
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• pp.406-425
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• 2012

Deploying advanced home networking technologies and modern home-networked devices in residential environments provides a playground for new home applications and services. Because home multimedia entertainment is among the most essential home applications, this paper presents an appealing home media content sharing scenario: home-networked devices can discover neighboring devices and share local media content, as well as enormous amounts of Internet media content in a convenient and networked manner. This ideal scenario differs from traditional usages that merely offer local media content and require tedious manual operations of connection setup and file transfer among various devices. To achieve this goal, this study proposes a proxy gateway architecture for home multimedia content distribution. The proposed architecture integrates several functional mechanisms, including UPnP-based device discovery, home gateway, Internet media provision, and in-home media content delivery. This design addresses several inherent limitations of device heterogeneity and network interoperability on home and public networks, and allows diverse home-networked devices to play media content in an identical and networked manner. Prototypical implementation of the proposed proxy gateway architecture develops a proof-of-concept software, integrating a BitTorrent peer-to-peer client, a UPnP protocol stack, and a UPnP AV media server, as well as media distribution and management components on the OSGi home gateway platform. Practical demonstration shows the proposed design and scenario realization, offering users an unlimited volume of media content for home multimedia entertainment.

• Journal of Korea Game Society
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• v.22 no.1
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• pp.77-86
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• 2022

This article argues that electronic entertainment has continued to this day, contrary to the existing view that it has been absorbed by digital games since the 1990s. From a media archaeological point of view, it tracks in what cultural and technical context the electronic entertainment called "Pump It Up", which has been popular since the late 1990s, has been accepted and used by gamers. The big trend of 'Pump' took place through a "performative shift" of gamers' creative game performing, and the rise and fall of the 'Pump' took place through competitions and interactions between imaginaries and practices that each subject surrounded the game had. In conclusion, it suggests the necessity of media archaeological research on various genres of arcade games.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.601-613
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• 2016

The purpose of this study is to present the mental model of young adolescents' media environment and the use and to provide several educational suggestions drawing on the revealed model. For this, the data were collected through 4 activities such as interview, picture drawings, word association experiment, and sentence completion task with ten 4-5th graders in elementary schools; they were qualitatively analyzed by 2 researchers. First, the meaning components driven by sentence completion task, word association experiment were totally 6 components: media device, connection(alienation), competence(provision), entertainment, adverse effects, ambilaterality. Second, the components of media mental model driven by pictures were 4 components: functions/competence, entertainment, conflict with paper books/sharing, harmfulness/ambilaterality. Third, the components from interview consisted of conflict between paper books and electronic media, communication-centeredness, fear(addiction) and users' qualification. Based on those results, careful examination in cyber talk, necessity of addiction prevention, active development of learning media and their balanced utilization with books, and healthful media literacy education and reinforcement of critical thinking were suggested.