• 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.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.713-725
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• 2016

Ambidextrous innovation is defined as the innovation capacity to pursue simultaneously both exploration and exploitation. Based on the organization learning and innovation management literature, the ambidexterity hypothesis predicts that ambidextrous innovation would enhance firm performance. This study attempts to verify the ambidexterity hypothesis in the context of TV drama production industry. TV drama producers' ambidextrous innovation is conceptualized as the simultaneous pursuit of exploratory and exploitative approaches in selecting genres of dramas. Data collected from 57 drama producers in 714 Korean TV drama projects between 1994 and 2009 support the ambidextrous hypothesis. The interaction between exploratory and exploitative approaches in genre selection is indeed positively related to the drama performance in terms of the viewing rate. Such results suggest that managers ought to manage high levels of both exploratory and exploitative innovation simultaneously in order to cope with increasing uncertainty, especially in highly uncertain cultural industry.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.23 no.6
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• pp.15-20
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• 2023

This paper is a study on the development of an artificial intelligence (AI) system algorithm that recommends indirect advertising products suitable for character web dramas. The goal of this study is to increase viewers' content immersion and help them understand the story of the drama more deeply by recommending indirect advertising products that are suitable for writing lines for web dramas. In this study, we analyze dialogue and plot using the natural language processing model GPT, and develop two types of indirect advertising product recommendation systems, including prop type and background type, based on the analysis results. Through this, products that fit the story of the web drama are appropriately placed, allowing indirect advertisements to be exposed naturally, thereby increasing viewer immersion and enhancing the effectiveness of product promotion. There are limitations of artificial intelligence models, such as the difficulty in fully understanding hidden meanings or cultural nuances, and the difficulty in securing sufficient data for learning. However, this study will provide new insights into how AI can contribute to the production of creative works, and will be an important stepping stone to expand the possibilities of using natural language processing models in the creative industry.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.77-90
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• 2020

Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.121-122
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• 2019

이 연구는 실천적 차원에서 방송콘텐츠 제작산업을 활성화시키기 위한 세제혜택의 개선방안을 다루었다. 콘텐츠 제작규모가 커짐에 따라, 투자를 얼마나 유치할 수 있는지가 콘텐츠의 질을 결정하는 데 중요한 요인으로 작용하고 있다. 중소기업 대상 지원정책이나 벤처기업 지원정책 등이 방송콘텐츠 제작산업에도 적용될 수 있지만, 방송콘텐츠 산업의 특성상 실질적인 혜택이 거의 없는 것이 현실이다. 영상콘텐츠제작관련 세제혜택이 있지만 드라마, 애니메이션 등 일부 장르에 국한되어 있다. 이 연구는 관련정책의 개선이 필요함을 주장하고, 제도의 개선안을 제시한다.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.73-85
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• 2020

This paper analyzes the types of characters in the drama by applying Gremas's Actantial model and Enneagram's character typology and examines how they are shaped. As the Korean Wave is important, it is necessary to study the type of characters and how to describe them. Character is the most important factor in the influence of drama. As a result of applying to the Actantial model, and the following results were obtained. The main subjects are Yu-jin Choi and Ko Ae-sin, the Helpers are many people helping the subject, the opponent is the pro-Japanese figures, the Sender is Gojong, and the recivers are the people of Joseon. Analysis results by personality type of Enneagram, it was found that the subjects are 3 and 5 type, the Helpers are various types, the opponent is 3 type, the Sender is 5 type, and the receivers all types. In the method of describing the subject, internal description (direct description) is used, and the other is only formed by indirect description. Some of the Helpers and the Sender are used an image-telling method to show the inside. However, the opponent is image-telling only to show indirectly. As a result, it was possible to confirm the differences and effects on the method of image-telling by character type.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.93-106
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• 2019

Persona is an actor's external ego constructed by playing various roles, and his/her another self-portrait in the eyes of the audience. This study was conducted to analyze persona identity containing core persona(CP) and to gain implications for the growth strategy of the actress Son Ye-jin called "melo queen" by verifying consistency between the CP and audience responses to her starring works of the past. According to the related theories and models, the persona was firstly set as image, visuality, personality and consistency, and it was used to extract and sort descriptive texts about Son related news articles in the last 5 years of the six major Korean newspapers using the content analysis method. After that, we analyzed the number of viewers of her movies and the audience share of her dramas by genre. As a result, Son's persona components were found to have a proportion for 54.2% images (34.0% for melo and romance images, 20.2% for non-melo and romance images), 25.6% for visibility, 13.8% for consistency, and 6.4% for personality. Her CP was derived from a melo and romance image. Comparing this with the audience reaction, the melo romance genre dominated and showed consistency in the drama, but in the case of the film, the non-melo romance was dominant and did not match each other. The results were attributed to a wide gap between dramas and movies in terms of key viewers, box office factors, degree of genre hybridity and experimentality. Therefore, Son should actively use her CP in the drama and challenge the various roles in order to expand her persona spectrum in the film.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.6
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• pp.113-125
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• 2019

This research aims to understand the common psychological features of consumer. And master the direction of the development of the network novels derivation by analysis the TV plays adapted from network novels in China's IP industry. To this end, This research determine to analyzed consumer adoption attitude the Behavior Intention of derivative products. The date were collected from 612 Chinese people, from October 15 to October 22 2018. Statistical analysis were through SPSS 21 after data coding and data cleanings process. This research performed frequency analysis exploratory factor analysis, Independent sample t-test, one-way ANOVA, post-analysis Duncan test, correlation analysis and mass regression analysis. The research results are as follows. Firstly, the characteristics(topicality, empathy and interest) of network novel TV play positively related role in the adoption attitudes(cognitive attitude and emotional attitude) of derivatives commodities. At the same time, identity has a more positively related influence than topicality and interest. Secondly, all the characteristics of network novels consisting of topicality, identity and interest play positive related roles in the behavioral intentions of derivative commodities. Thirdly, emotional attitude plays a more positively related role in purchasing intention and recommendation intention compared with cognitive attitude. It is hoped that the research results can play a fundamental role in the production and development of network novels derivatives.

• The Optical Journal
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• s.109
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• pp.39-41
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• 2007

'2007 세계수영연맹선수권대회' 남자 400m 자유형에서 4위를 달리다가 마지막 25m를 남겨놓은 시점에서 역전드라마를 장식했던 마린보이 박태환처럼 삼성테크윈(대표.이중구/www.samsungcamera.com)은 세계 디지털카메라 시장에서 역전드라마를 준비하고 있다. 디지털카메라의 후발주자로서 선발 업체들에 대한 추격의 발판을 마련하기가 쉽지 않은 상황에서 2004년 세계 10위, 2005년에는 8위, 불과 1년만인 2006년에는 5위로 껑충 뛰어올랐으며 2007년은 3위, 2010년은 세계 1위라는 야심에 찬 목표를 내걸었다. 이처럼 삼성테크윈의 디지털카메라가 어느 순간 세계의 관심을 한 몸에 받으며 디지털 카메라의 강자로 떠오를 수 있었던 비결은 무엇인지 광디지털시스템사업부내의 DSC개발센터를 찾아 남병덕 상무로부터 제반 이야기를 들어보았다.

• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.203-204
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• 2012

한류 문화산업은 드라마로부터 시작하여 K-Pop으로 영역이 넓어지는 장르의 다양화와 함께 동남아에서 남미, 유럽까지 지역적 영향력도 커져가고 있다. 문화산업 관련 직종 중 기획-경영 분야에는 문화 예술에 대한 지식과 함께 경제학, 경영학, 기술 분야(CT: Culture Technology)의 다양하고 고도의 융합지식 필요하다. 한류 문화산업 전문가는 또한 한류 문화상품이 영향력을 미치는 중국, 일본, 베트남, 서남 아시아권의 지역정보와 해당 국가의 문화, 법, 제도 이해가 필요하다. 이 연구에서는 한류 문화산업의 전문가를 양성하기 위한 산업계의 수요를 분석하고 이들을 양성하기 위한 체계적인 교육과정을 도출하는 프로세스를 제시한다.