• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.82-93
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• 2016

The latest development of the Korean drama production industry has been accompanied by the steep rise in the number of players and the contraction of the advertizing market, which have combined to intensify the competition severely. Then, China happened. Entertainment agencies' logical strategic choice to maximize production revenue potential was to secure A-list actors who can sell, pushing up their prices, that process has continued to even compromise the health of the production industry as well as the agencies' financial integrity. The drama production industry, including entertainment agencies, should shift the strategic focus from simple production revenue generation to profit maximization through diversifying revenue sources like securing IP rights.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.137-144
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• 2011

This study explored the risk sharing mechanism in the US TV drama industry. The hollywood system of TV production and distribution can be understood to be the result of the efforts to reduce the uncertainty and the risk of investment. Since the 1990s, the vertical integration of major studios and networks has been one of the core strategies for risk sharing. In the strategy, the most important role of networks is to schedule new series that the affiliated studios produce. Networks also provide the new series their brand value. On the other hand, the most important role of studios in the vertical integrated environment is to provide the affiliated networks the infrastructures for production and distribution, financial management, and product management. In addition, networks keep the right on the series in the secondary markets, and attempt to increase the aggressive investment on new series on the base of the rights. However, such a risky investment can be the potential burden and risk for the networks in the future. This paper shows the importance of the reasonable risk sharing in the television drama industry to the Korean TV drama industry that has experienced the conflict between networks and independent production companies.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.157-164
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• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

• The Journal of the Korea Contents Association
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• v.15 no.10
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• pp.66-82
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• 2015

This study looks into the differences between the two different genres of dramatic renditions on film- television dramas and movies, by studying the respective characteristics of screenplays for television and movies, and comparing the disparity in status between the powerful television drama writer and the powerless movie screenwriters as well as actual power structures within the Korean media industry. It explores the intensifying problems of high cost drama productions and poor treatment of screenwriters, as well as established practices in the movie and television industries so as to analyze problems comprehensively and seek balanced growth within these industries. The Hollywood screenwriting system is taken as a point of comparison in seeking solutions and exploring the direction that Korean film and television industries should take in the future.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2015.10a
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• pp.384-387
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• 2015

드라마 CD는 One source multi use의 한 사례로써 성우관련 사업이 잘 연계되어 있는 일본에서 널리 퍼진 콘텐츠이다. 이는 이웃한 한국에도 영향을 미쳐 그동안 한국에서도 드라마 CD가 발표되어 오고 있으나 콘텐츠 분야 마켓 쉐어에서의 드라마 CD는 아직 그 입지가 크지 않다. 본 논문에서는 우리나라와 일본의 드라마 CD 시장의 성장을 비교 분석해보고 어떻게 해서 콘텐츠분야에서 강력한 힘을 발휘하는지 드라마CD의 장, 단점을 통하여 그 원동력을 알아보고 우리나라 드라마 CD시장 산업의 발전 방향에 대해 모색해 보도록 한다.

• Aerospace Industry
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• v.85
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• pp.44-45
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• 2004

약 20여년 전 국내에서도 큰 인기를 끌었던 ''''A특공대''''라는 외국 TV드라마를 기억하는지? 그 프로그램의 주인공 중 한 사람인 BA(미스터 T 분)는 전혀 비행기를 탈 수 없는 비행공포증 환자여서 비행기를 탈 일이 있으면 동료들이 수면제를 먹인 후에 타야 했다. 하지만 비행공포증에 시달리는 사람들은 드라마 속 뿐 아니라 우리 주위에도 많이 있다. 어떻게 해야 극복할 수 있을까?

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.263-267
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• 2009

With the increase of weight and influence of TV drama, Many researchers began to publish papers on TV drama. However, Those papers were mainly about social meaning of TV drama and viewing motives and attitudes of TV audience. However, only a few limited papers were about television image production techniques. The purpose of this thesis is to analyse the relationship between TV genre and image production technique with the data of top 100 of TNS Media Korea from the year 2004 to 2008. This paper found out that history drama uses more closeup, longshot, tracking and less waist shot than other genres, with shorter shot duration and longer scene duration.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.172-180
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• 2014

The purpose of this study is to examine how the Munjeonsa(SPC) has influenced the way terrestrial broadcasting networks produce drama. The study has three research objectives. First, this study investigates why the networks use SPC for drama production. Second, the study examines the features in the process of the setup and operation of SPC. Third, the study identifies the impacts of SPC on networks' drama production. This study analyzes which was produced by KBS SPC. The results of this study are as follows. First, networks introduce SPC to procure an enormous production costs and to manage the production system transparently and efficiently. Second, the feature of networks' SPC(KGCS SPC) is that it has a unique dual structure with main and project SPC. Third, SPC influences drama production system in various ways; revitalization of external investment, accounting transparency, growing of network's planning dramas, securing intellectual properties and revenue diversification.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.98-108
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• 2008

The recent growth of the national film and broadcasting industry and the international success of korean films and dramas have resulted in enlarging the financial investment of overall film and drama producing system. Many of local governments contend in the inducement of the drama and movie production because building a drama or movie set help to grow the local business. However, the effort of local governments has rarely achieved the long-term effect. The purpose of this paper is to examine the successful examples of the local specialization as drama or movie set, to compare them with other countries, and to analyze the systematic cause of their success. Moreover, this paper tries to suggest few principles to preplan the successful inducement, to increase the positive outcome, and to invigorate the local area.

• The Journal of the Korea Contents Association
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• v.19 no.6
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• pp.179-191
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• 2019

It is not easy to predict the return on investment in the content business, and there is no index to evaluate cast & crew. The absolute number of TV ratings is steadily declining, but there is no substitute index yet. In this study, we tried to predict the relative popularity of the drama by designing the relative superiority of the individual drama viewership as the response variable and designing the relative superiority of the drama participants as the explanatory variables. We used various machine learning algorithms and added explanatory variables that were found to be useful in previous studies. As a result, with properly combined explanatory variables, a high prediction accuracy of 84% is obtained. In this study, we intend to promote the investment efficiency of the entire contents industry by predicting the relative popularity of the contents.