• Korean journal of communication and information
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• v.58
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• pp.201-221
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• 2012

The male audience for melodrama, a typical women's genre, has drawn little attention in the audience research. Thus, this paper examines how and in what context they watch it, as well as how they accept and rationalize their 'feminine' taste. And in-depth interviews were conducted with seven middle-aged males. While they acknowledge their feminine taste, they tend to legitimize and re-contextualize it in ways that may not contradict their notion of masculinity. Consequently, they often demonstrate seemingly contradictory attitudes oscillating between enjoying it and distancing themselves from their please of viewing. Yet, their acknowledgement of feminization hardly extends to an acceptance of being labelled 'feminine' men. They attempt to distance themselves from emotional engagement in television viewing, either through emotional self-censorship or under-valuation of the taste for the genre itself. Finally, they hardly connect their taste for the genre to a sort of active post-viewing practices of fandom. The results have considerable implications for understanding how the melodrama-viewing males keep traversing the boundaries of gender-specific genres, and reconstitute the notion of masculinity.

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.762-771
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• 2016

This study examined determinants of diversity in cultural consumption among people in their 20s. The main results are following; firstly, this study explored determinants of diversity in nine cultural consumption. The results showed that diversity of cultural consumption was determined by three factors such as current interests in cultural fields, content preferences based on broadcasting genres, and income. Although current interests in cultural fields and content preferences based on broadcasting genres were positively correlated to cultural consumption, income was negatively correlated. Next, this study examined diversity in cultural consumption in terms of two separate orientations such as highbrow and mass cultures. The results showed that diversity of highbrow culture was determined by current interests in cultural fields, content preferences based on broadcasting genres and income. Also, diversity of mass culture was determined by current interests in cultural fields, content preferences based on broadcasting genres and education period for classic music including opera and chorus.

• The Journal of the Korea Contents Association
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• v.6 no.10
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• pp.41-52
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• 2006

Animation, presenting laughing, tears and inspiration to the audience, can be classified into several genres according to the structure of scenario and storytelling in the same ways as for movie. This classification of scenario genre and scenario writing is based on the writing for a play. Scenario writing and genre classification that were discussed mainly in the movie theory books has been applied to the animation in spite of the difference of the production technique and storylines. Animation finds its academic values as a movie art due to its frame-by-frame filming technique and the diversity in the production. Since the number of scenario writers for animation is much smaller than that of movie in Korea, it is needed to set an academic basis for the classification of genre and scenario writing. In this study, academic basis for the classification of the genre by the analyzing the animation works.

• The Journal of the Korea Contents Association
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• v.20 no.6
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• pp.279-292
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• 2020

The purpose of this study is to suggest what the effect of channel brand equity is in the environment of multi-platform and to raise how channel brand equity is important by investigating how terrestrial TV's channel brand equity influences viewers' choice and use of the terrestrial TV contents on the multi-platform. The findings showed that the terrestrial TV's channel brand equity partially had a significant effect on the degree of use of Terrestrial TV contents on multi-platforms, but it did not on the diversity of media for viewing the terrestrial TV contents. In addition, it partially had an influence on the use of platform and service for viewing terrestrial TV contents by type. Finally, it also partially had impacts on the diversity of genre and the genre use by type. The findings suggest that the channel brand equity can have effects on the viewers' choice and use of broadcasting contents on the multi-platforms, and thus this study provides significant insights on what strategies are required for the competitiveness of broadcasting channels.

• Journal of Korea Game Society
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• v.18 no.2
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• pp.77-88
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• 2018

This study anatomizes various traits of slots in Slotomania, the most popular online slot game in the world. Developed by Playtika, Slotomania is a social casino genre game that runs over Facebook. Slotomania has been the number one as a title in the social casino genre, and this study multi-dimensionally analyzes various characteristics of slots that exist in the game. Specifically, it analyzes factors of 1) User Interface(UI) 2) Theme 3) Payline & Betting 4) Structure & Symbol 5) Bonus 6) Additional Traits. As a reuslt, it reports that there is "diversity". Therefore, it not only researches how and why those slots are attractive to people but also explores the market of social casino based on Facebook.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.258-266
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• 2016

This study analyzes what contents the general programming channels have been programming since they opened in December, 2011. The findings reveal that their programming tends to center on specific genres such as news, current affairs, variety shows etc., although the general programming channels have programmed diverse contents. This study also shows that the concentrated programming of these genres has been intensified in all the general programming channels as time goes by. The ratio of re-run is shown to be comparatively high, reaching the level of 50%. Thus, it is necessary that they program more diverse genres in order to satisfy the original purpose of the introduction of the general programming channels and to provide the audience with more chances to select programs.

• Cartoon and Animation Studies
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• s.48
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• pp.173-197
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• 2017

The purpose of this study is to investigate the extensibility of transmedia contents of fantasy genre, and then to examine the characteristics of trans-media contents and analyze how the contents of fantasy genre have become trans-media. The definition and characteristics of the trans-media are distinguished from the existing theories such as One Source Multi Use (OSMU) and Crossmedia. At the same time, this study analyzes the extensibility of the trans-media contents applied to the fantasy genre and it compares with other medias such as novels, videos, games, etc. This shows that the game of the throne was more like to the second order adaptation through video adaptations that succeeded in success compared to the original novels that in expanding into trans-media compared with existing fantasy genre contents represented by the Lord of the Ring. The difference is that although the game of the throne is a fantasy genre content, it does not inherit the existing database genre elements, and it has been found that it has a different aspect from the existing customary form from the role of the character to the whole narrative. The analyzes presented in this study are equally valid for single content, not just for transmedia specific elements.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.160-169
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• 2013

The materials used in the title sequence connotes a style & a content of film comprehensively. Therefore, the effect of emotional expression can be changed according to what materials are selected. Thus, the materials of which 42 title sequences are collected for the last 10 years are classified, and the category of materiality & material degree are defined with the semiotic rectangle. To investigate intensity of the material degree, the survey was done. As a result of the survey, the intensity was classified into 3 levels of material degree. The category of materiality used according to the genre of film was analyzed. As a result of the analysis, the materiality was selected according to the content regardless of genre, but there's any difference in the material degree. The intense material degree was used in a thriller and an SF mystery genre, and the medium one was used in the general genre, but, above all, drama and action genre. The weak one was used in a variety of genre, but specifically horror, SF mystery genre. It is significant that this study suggested the expression method in accordance with selection of materials in producing a title sequence to visualize film symbolically.

• Korean journal of communication and information
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• v.51
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• pp.47-64
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• 2010

Korea film market is heterogeneously divided market that comes from competition between Korean movies and foreign imported movies. This research empirically analyzes genre differentiation in Korean film market with three dimensions (film audience preference, production and import, box office hit). The results indicate that, first, audiences who preferring Korean movie preferred 'cultural factor oriented genres', but audiences who preferring foreign movie preferred 'high budget oriented genres'. Second, imported foreign movie genre distribution was little bit different with box office hit genre of foreign movies. Foreign movie was imported not only hit genre (action genre) but also low cost genre (comedy and Drama/melodrama genre), but most of all Korean film was produced in box office hit genres (comedy and Drama/melodrama genre), third, Korean movies hit a box office in comedy and Drama/melodrama genre, but foreign movies hit a box office in action and SF/Fantasy genre. Those results show that Korea movies' genres are concentrated very much in cultural factor oriented genre. Those results can give implication of diversity policy and movie production strategy of Korea film market.

• The Journal of the Korea Contents Association
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• v.10 no.1
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• pp.202-212
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• 2010

The purpose of this study is at clarifying what the genre oriented characteristics of virtual reality programs are. For this, the tests of 'We Are Married' being broadcasted in 'Sunday, Sunday Night' Part 1 of MBC from episode 1 to 8. As a result of analysis, this program was mixing together virtuality and reality by placing the image of virtual couple's life and presentness of entertainers existing in reality appearing at the studio. Also, it was forming sympathy with users as it satisfies fantasy and sense of reality toward marriage by the entertainer couples showing love and conflict that may happen between real couples after setting various categories of couple types. Also, through the device for the public space to confess private feelings through television, it shows the boundary between public domain and private domain breaking up. Along with this, it has implemented amusement characteristics by inspiring enjoyment of users by a substituted satisfaction through various forms of impressions presented to spouse such as materials, effort, gesture or language, etc. Accordingly, the virtual reality program shows authenticity, fiction and amusement by being mixed together and we can see that such genre oriented characteristics act as important strategy appealing to users based on breakup of boundary and genre oriented ambiguity.