• The Journal of the Korea Contents Association
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• v.18 no.2
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• pp.583-591
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• 2018

Increasing rate of late or deferred marriage in our society may have been inferred from alleged contribution of media use on people's idealistic expectations about marriage. This study examined the relationship between Korean-Chinese romance drama viewing and various sub-concepts of idealistic fantasy about marriage. Results from survey analysis indicate that although romance drama viewing has a positive association with life satisfaction, it was positively associated with various aspects of idealistic marriage fantasy (i.e., less materialism in marriage, more belief in love at first sight, and more unrealistic expectations on marriage). Further, differential cultivation effects of Korea and Chinese romance dramas were discussed.

• 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.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.123-153
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• 2020

As the importance of documented fact has weakened in historical dramas, the combination with other genres has become prominent. By reviewing the way romance is dealt with in historical dramas, this research examines how the properties of historical events adopted by historical dramas are related to the motif of love, and how the narrative of love and romance contributes to the historical effects, with a focus on the television drama Mr. Sunshine. Mr. Sunshine is the first historical drama written by Kim Eun-sook, combining deliberately rearranged history with the writer's unique grammar of romance. The failed resistance movement of the righteous army in the drama is matched with the love that cannot be achieved based on self-negation. The drama, which deals with the tyranny of Japanese imperialism and the independence of Joseon, fictionalizes key characters and events, transforming the desire of love into the passion of patriotism. Romance in Mr. Sunshine serves as a catalyst for emphasizing the tragedy of historical events and reconstitutes cultural memories. In historical dramas, the fictional plot of romance leads viewers to reflect on human life in history that flows from the past to the future. How does an individual's inner feelings contribute to the historical representation? This research is significant as it is the first attempt to examine the relationship between historical drama and romance in various ways.

• 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.

• 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.

• The Journal of the Korea Contents Association
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• v.11 no.6
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• pp.167-175
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• 2011

Increased numbers of Chinese are using the Internet as communications technology develops, and more Chinese are downloading and watching Korean dramas and movies. According to a survey conducted to assess the present state of Korean wave in China, most Chinese young people are watching Korean dramas by downloading them from the Internet. The objective of this study is to see the characteristics of Korean dramas preferred by Chinese viewers: the factors are years of production, diffusers(Broadcasters), types of drama, story topics, main actors, and directors. As a result, Chinese viewers tend to prefer to dramas recently diffused in Korea, miniseries, and comic dramas and romance. Otherwise, broadcasters, main actors, and directors do not influence directly on the choice of dramas of Chinese. Particularly, Korean wave stars in China do not always appear into the dramas favored by Chinese viewers.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.253-264
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• 2010

This study aimed to 1) analyze television drama text to examines how Korean television dramas represent alcohol drinking; 2) interview the actual drama audience to examine how they perceive drinking and whether or not their perception is influenced by the drama text. The author analyzed 60 drama episodes from 12 prime time shows that reached over 20% rating from 2008 to 2010. The result shows that drinking in dramas are portrayed as a solution to various kinds of personal and business problems, medium of romance, a tool for interpersonal communication that facilitates understanding and positive relationship. Female drinkers are prominent but their drinking is taking place under the patronage of male characters, which lead to the maintenance of patriarchal social relations. Interview findings show that the audience have strong motivation to imitate the glamourous lifestyles of leading characters in dramas. The findings strongly suggest observational learning was taking place, especially in the area where the viewers have no direct experience.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.23 no.4
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• pp.17-22
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• 2023

This study analyzed the genres of popular character web dramas and studied the development of story recommendations through the language model GPT. As a result of the study, it was confirmed that similar cliches are repeated in web dramas. In this study, a common story structure (cliché) was analyzed and a typical story structure was standardized and presented so that even unskilled video producers can easily produce character web dramas. For analysis, clichés of web dramas in the school romance genre, which is the most popular genre among teenagers, were listed in order of success. In addition, this study studied the story recommendation mechanism for users by learning the clichés that were analyzed and cataloged in GPT. Through this study, it is expected to accelerate the production of various contents as well as popular popularity through the acceptance of various databases from the standpoint of database consumption theory of web contents.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.48-59
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• 2014

This study examines the characteristics in melodramas by comparing three major television broadcasting companies(MBC, SBS, and KBS) since 2000. The findings of the study are as follows: "Romance" melodrama is more common in MBC and SBS, than in KBS, where "family" melodrama is more common. The most cause of conflict shown in MBC is "love between the rich and the poor" that in SBS is "conflict between love and success", and that in KBS is the conflict similar to that between "Ondal the fool and Princess Pyeong-gang". The most common love relationship shown in SBS and KBS is the "single love triangle" and that in MBC is "double love triangle". In the shows of all three TV broadcasting companies, male protagonists most frequently belongs to "jaebeol" (the rich) and female protagonists are "company workers". The most common personality trait of male protagonists' in MBC shows is and "optimism", in SBS shows, it is "supercilious behavior", in KBS, it is "simple-hearted". However, the personality of female protagonists in the shows of all three broadcasting companies can be described as, bright and cheerful. In MBC and SBS, male protagonists were frequently portrayed as capable, and in KBS, as self-conceited. in KBS are the most frequent. Female protagonists in the shows of all three broadcasting companies were most frequently portrayed as hardworking.

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.130-140
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• 2015

With the growth of media platforms and fierce competition in the media market, there have been focus on cross media storytelling, a remediation of content already proven successful to another type of medium. In particular, webtoons have emerged as being successful source media, and this study analyzes how the webtoon 's narrative is expanded and transformed in the remediation process into TV drama. The results showed that, the webtoon , which was targeted at a relatively more specific audience, objectively described stories of the life and hardships of an office worker through a contractual employee at a trading company navigating work life based on strategies of Baduk; while the TV drama version, which aims to appeal to a broader audience, strengthened popular narratives with topics of social issues such as 'hardships of the non-permanent employee', 'sexual discrimination and sexual harassment in the workplace', 'difficulties of a working mom', and 'romance between new colleagues'. In addition, in order to create dramatic enjoyment, the drama's storytelling strategy incorporated conflicts by creating confrontational relationships among good and evil characters, and added humanism and comedic effect.