• Proceedings of the Korea Contents Association Conference
• /
• 2009.05a
• /
• pp.263-267
• /
• 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
• /
• v.18 no.11
• /
• pp.146-160
• /
• 2018

The purspose of this study was to investigate on the TV drama of tvN from October to November of 2017, which was regarded as a well description of the current young generation's daily life and reality. In order to figure out how it depicted the young generation in TV drama, the authors tried to analyze it..Through this study, it was found that the rise of neo-liberalism changed their social and financial lives rapidly. It pushed the young generation to give up on dynamic challenges and dreams, and to search for normal and inactive life styles.It was also found that its myths and ideologies implied how much differently Korean young generation confronted big gaps between their cognitive realities and their actual realities. Furthermore, this study suggested that the necessity of full understanding why and how such Korean young generation sought for an unique life styles to overcome various difficulties in such chaotic societal situations.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.123-161
• /
• 2019

The popularity of melodrama indicates that melodrama is composed in a historical context. This is the reason why it is necessary to analyze the imagination of melodrama within a sociocultural context rather than asking the essentialistic question of "What is melodrama?". (2016) and (2018) caused sensations while holding unchallenged top positions in terms of viewing rate and popularity. These dramas indicate the popular imagination and desire of Korean society in the 2010s during a period of upheaval. This paper analyzed imagination in melodrama with a focus on nation and emotions of individuals in and . In preexisting dramas, conflicts are often limited to individuals and families; on the contrary, in and , a nation appears as a motif that forms conflicts between individuals. In these intense situations of conflict, people make rational judgments at first; however, they soon dispose of such judgments and reveal value-oriented attitudes through emotions, which drive actions. Both dramas form poésie mainly through poetic rhyming and the mise-en-scène of objects. The dramas also amplify emotions. The main emotions of these dramas are sympathy and sadness. Such emotions are not consumed in itself; instead, they show moral aims through performativity. Consequently, sympathy becomes solidarity, and sadness becomes mourning. Unlike preexisting melodramas whose endings were simply pursuits of love and happiness within the realm of individuals, and demonstrate a moral imagination that simultaneously reminds us of the individual and community through solidarity and mourning.

• The Journal of the Korea Contents Association
• /
• v.12 no.11
• /
• pp.68-75
• /
• 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
• /
• v.49
• /
• pp.122-143
• /
• 2010

This study is designed to figure out what kind of female images TV dramas have represented from 2000 to 2007 and what kind of relationship these images and the actual roles the female characters perform have in the drama. The total number of dramas analyzed is 27, and 152 female characters are analyzed. The result finds that 45% among 152 characters is in her 20's, and most of them play the main roles. Only 4 dramas use 3,40's female characters as main figures. Most 4,50 female characters play mother or grand mother roles of main characters, and they usually interrupt main character's love relationships or don't play any meaningful roles for the narrative. The old female characters over her 60's tend to play foolish and ridiculous roles and don't show any physical charms. The female main characters are beautiful and young, and the more they play good roles, they have better natural beauty comparing the bad characters. The youth and beauty of main characters helps the owner to earn the love of main male characters. It's obvious that the dramas show that female's body as physical capital to achieve higher class and power.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.7
• /
• pp.25-38
• /
• 2019

For many years, emotions have been regarded as dangerous as well as obstructive to reason and rationality. Even in the history of dramatic genres based on human behavior, emotions are often portrayed as errors or flaws that lead to the collapse of characters, even though they are presented as powerful motives to evoke the characters' actions. Based on the development of the cognitive science field today, it is revealed how emotion is important for human thinking, judgment and action, and how closely reason and emotion are combined. This study examines emotions dealt with in drama genres on the basis of the sociality of emotions. Emotions also play a crucial role in the change and judgment of the audience of drama. This study examines the sociality of emotions and looks at the social aspect of individual emotions through the movie as a text. Just as horror movies attempt to communicate using and expanding feelings of fear, the movie uses the emotions of 'Sad' and 'Losing' to try to expand and share it. And I look into the mechanism in which the emotions of the characters in drama are transmitted to the audience in the form of empathy.

• The Journal of the Korea Contents Association
• /
• v.9 no.10
• /
• pp.159-167
• /
• 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 focused on social meaning and viewing motives and attitudes of TV audience. However, only a few papers researched about television image production techniques, such as 'Relationship between TV ratings and image production techniques', 'Transition process of TV drama's image production techniques', and 'Comparison of TV and film image production techniques'. According to the recent research on the relationship between TV ratings and image production techniques, TV rating is inverse proportionate to multiple camerawork and shot average duration with a very close relationship. 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 Convergence on Culture Technology
• /
• v.7 no.4
• /
• pp.195-202
• /
• 2021

We examines the aspect of dramas delivering Korean culture and literature to the public in the 1950s through the drama (2004). This drama focuses on Myeong-dong and views society and literature in the 1950s. This drama not only introduces ordinary people to viewers realistically, but also helps viewers understand by inserting interviews with researchers. In addition, through the gaze of poet Lee Bong-gu, they connect their literature with different literary people to obtain narrative completeness while helping viewers understand the inner side of the literary people. At the end of the drama, Lee Bong-gu's voice is a meaningful riverside for future evaluations, and it means the result of overcoming the pain of the 1950s with a romantic atmosphere and literary passion. Therefore, the drama "The Count of Myeongdong" is a meaningful text that delivered the literature and cultural landscape of the 1950s to viewers in a popular and sincere manner through the video.

• Korean Journal of Social Welfare
• /
• v.57 no.3
• /
• pp.165-194
• /
• 2005

This study is to explore how TV drama describes divorce process by the reason of extramarital relationship in the drama. To explore this subject, 30 drama synopses delineating extramarital relationship were analyzed. The results revealed that most of the couples had difficulties in emotional relationship and communication. The couples relationship was described traditionally patriarchal: husbands showed their authorities and wives showed dependency on their husbands. The partners of extramarital relationship were the lovers before current marriage. The patterns of extramarital relationship included 'intention to look for vitality despite satisfying current marriage' for the husbands and 'intention to avoid dissatisfied current marriage temporally' or 'to maintain marriage despite dissatisfaction' for the wives. For those who married 6 years and longer, more extramarital relationship was accepted as a terminator of the marriage. And in many cases, the divorce dose not mean to maintain the relationship with extramarital partner but to collapse of trust in partner. The results imply that the social work needs to be more sensitive to middle-class couples' communication and relationship problems. This will lead to the development of the social work intervention program for the couples.

• Korean journal of communication and information
• /
• v.46
• /
• pp.37-74
• /
• 2009

This research is an attempt to investigate cultural identity at the international level. Asia is one of the weakest communities in the world due to discrepancies in terms of political, economic, social and cultural aspects. Additionally, Asia has never been independent in communication flows since imperialist history until the Korean wave emerged at the turn of this century. The Korean wave reflects complex power embedded in postcolonial world in addition to cultural commonality among Asian audiences. I have conducted audience researches on Korean drama fandom in Japan and China. I adopt Lacanian psychoanalysis in order to interpret identity issues of Asian media audiences. Particularly, Deleuze and Guattari's theories are useful to scrutinize group identity of Asian community. Additionally, I refer to theories of nationalism.