• Review of Culture and Economy
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• v.20 no.1
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• pp.129-161
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• 2017

Korea's entertainment industry laid its foundation in the early 2000s when global popularity of South Korean soap operas increased in Japan. K-pop has been recently leading the popularity in China. However, many Korean entertainment businesses are dying out. This study reviews factors influencing business survival for 42 chosen corporations listed in the Korea Stock Exchange based on organizational ecology. When all of the variables are analyzed at the same time, long period of public offering and high wages and global sales ratio positively affect business survival. When the individual variables are separately analyzed, long period of public offering and CEO incumbency and high wages and global sales ratio positively affect business survival. Meanwhile, size of businesses do not affect the survival. The results of this study imply that policies to help businesses list an entertainment corporation in the Korea Stock Exchange, increase sales and reciprocity with other culture are needed. Laws and institutions for evaluating intangible asset value should be improved. The results also suggest that a corporation should carefully consider change of CEO and make the best use of the popularity of Korean culture to increase global sales and pay competitive wages to attract professionals.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.359-369
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• 2019

This research suggests video solutions and efficient implementations for low-budget performances. This study adopts Millumin as a mapping server, which reflects the character of small theatres with a lower budget that doesn't use more than four projectors in a show. By comparing pros and cons of media servers, the study discovers how to employ an appropriate server as well as to participate in a pre-video production stage, which increases the artistry of directing and reduces unnecessary graphics. Meanwhile, with the participation of an interpretive programmer, this study suggests a way to manage the rehearsal time and to increase the artistry of directing. In addition, this study analyses the relationship between the video's visual motive source in the story's development, crisis, climax, twist and the provided narrative based on "Trace U the musical (2018)", by this analyzation, the relationship between storytelling and the video is fully shown. A visual motive is related to the action of actors, the movement of dancers, the music, the lyrics and the lines. Furthermore, the provided narrative confirms that the existence of an actual relationship with the turning point of the plots, characters' emotion, suggestions of sub-plot and the twists of own story. In conclusion, it implies a video of small theatres can not be separated from the probability of the narrative.sh an efficient ad execution strategy that reflected the characteristics of mobile devices.

• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.199-210
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• 2019

Virtual Advertising, which was introduced exclusively in sports casting programs in 2010, has enlarged its scope to terrestrial TV networks' sports news, entertainment shows, and dramas by 2015. Such advertising deregulation allows broadcasting business operators to insert more various virtual advertising methods into TV programs. Despite recent evaluation that virtual advertising was deregulated to a large degree, it is still inadequate compared to foreign state of affairs and has a lot of room for growth. Therefore, this research explores a literature review of virtual advertising in other countries and considers possible ways for virtual advertising in Korea to move forward. Additionally, through in-depth interview with seven virtual advertising experts, the research unravels positive and negative impacts of virtual advertising as well as its current state of affairs and struggles. This research also analyses the regulation of virtual advertising and finally explores possible revitalization strategies. The results of the research show that it is necessary to first improve the viewers' favorable concerning virtual advertising in order to revitalize virtual advertising. Revitalization will also require a clarification of regulation as well as a more unified and consistent content review and rating system. Furthermore, it is imperative that data of advertising impact will be accessible to advertisers and that advertising regulation will loosen. Revitalization will also require a clarification of regulation as well as a more unified and consistent content review and rating system. Furthermore, it is imperative that data of advertising impact will be accessible to advertisers and that advertising regulation will loosen. It is necessary to further develop new techniques and creators of virtual advertising. The research suggests strategies and alternative paths for the growth and revitalization of the virtual advertising market in light of recently revised law.

• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.723-733
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• 2021

'Reboot' and 'Homage' are using as creative techniques in traditional storytelling media fields such as movies or dramas, but the possibility of expanding the transmedia story world has not yet been presented. This study was written to present a new concept of transmedia story world expansion type using the 'Reboot' and 'Homage' methods. 'Reboot' and 'Homage' are typical storytelling methods of K-POP idol groups that need to develop content. I selected , , and , which have built their story world, and examined both the narrative creation section and the marketing application section. The result of the study is as follows. First, EXO is an example of a reboot case. They set the original set as 'past' and insert the new storylines. Second, BTS is an example of a character's reboot. They built a story world by paralleling 'Idol BTS' and 'Character BTS'. Third, Wanna One is an example of the original story world's homage. They reorganize the story world of and attracting the attention of the existing audience. Fourth, BTS is an example of other media homage which reinterprets the meaning of BTS characters and story world by using the meaning of classic works.

• Journal of the Korea Convergence Society
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• v.12 no.1
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• pp.275-281
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• 2021

The purpose of this study is to analyze the differences in Mulan character makeup and to determine whether the makeup of the period reflects the traditional culture through the analysis of Mulan's movies produced in the background of the Mulan Si story in the period of China's North and South Dynasties, the Sui Dynasty, and the Tang Dynasty. The research method is to analyze makeup images. Mulan's usual appearance at home, the appearance in the military, and the appearance of Mulan after wearing makeup were compared to the actual makeup of North and South Dynasties, the Sui Dynasty, and the Tang Dynasty. There are three works refer to the period makeup: the movie (2020), (2020), and the drama (1998). Two Mulan films, (2020) and the movie (2020) use makeup from the North and South Dynasties such as Eo Hwang-jang, Myeonyeop, and Sa Hong to create the character Mulan. (1964) is a work based on the makeup culture of the Tang Dynasty of the Sui Dynasty. Through this paper, hope to look forward to the development of Mulan-related movie works in the future, and at the same time, it is considered that the make-up production according to the periods will be helpful in the creation of movie when producing movie in the background of the North and South Dynasties, the Sui Dynasty, and the Tang Dynasty.

• Journal of the Korean Society for Library and Information Science
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• v.55 no.1
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• pp.393-413
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• 2021

Digital humanities, which creates new and innovative knowledge through the combination of digital information technology and humanities research problems, can be seen as a representative multidisciplinary field of study. To investigate the intellectual structure of the digital humanities field, a network analysis of authors and keywords co-word was performed on a total of 441 papers in the last two years (2019, 2020) at the Digital Humanities Conference. As the results of the author and keyword analysis show, we can find out the active activities of Europe, North America, and Japanese and Chinese authors in East Asia. Through the co-author network, 11 dis-connected sub-networks are identified, which can be seen as a result of closed co-authoring activities. Through keyword analysis, 16 sub-subject areas are identified, which are machine learning, pedagogy, metadata, topic modeling, stylometry, cultural heritage, network, digital archive, natural language processing, digital library, twitter, drama, big data, neural network, virtual reality, and ethics. This results imply that a diver variety of digital information technologies are playing a major role in the digital humanities. In addition, keywords with high frequency can be classified into humanities-based keywords, digital information technology-based keywords, and convergence keywords. The dynamics of the growth and development of digital humanities can represented in these combinations of keywords.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.113-125
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• 2021

This research has the purpose to approach 'Audience participation theatre' through applying the concept of 'Hybrid' which newly come to the fore after 21st in a theatre space. In fact, 'Hybrid' has been suppling crucial power to create and pass a culture down for a long time, and it could not different to a theatre space. The hybridity in previous traditional theatre which is central 'text' and 'architectural theater' is limited movement only on the stage, such as 'an actor between presence and absence', 'a theatrical time between real and fiction' and 'an objet between An Sich(thing itself) and Fur Sich(thing with inner meaning). However after 20st's 'Avant-Garde' with 'decomposition sprit', the hybridity become broader from only on the stage to entire theatre space including auditorium caused by collapse the boundary between auditorium and stage. In other words, 'auditorium' and 'audience' are considered as 'a theatrical element' coequal with other elements, and it can create various special results through they are mixed equally. Therefore, 'Audience participation theatre' could regarded a kind of hybrid phenomenon between 'auditorium and audience' and 'actor and stage' which are most disparate relation, and it is also approached 'hybridized audience', 'hybridized space' and 'hybridized text' as a new identity.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.103-116
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• 2020

This paper starts with the recognition of the problem of the need for a link between text-centered acting and body-centered acting. This study is focused on Brecht's theory of acting to overcome loss of presence by repetition which have been discussed many times by not only actors, but also acting educators. Brecht's acting theory has already been mentioned by many researchers as an alternative to conventional actor training. However, not many studies have been conducted on practical applicable methods. The purpose of this study is to provide the basis for the actual practice of Brecht acting and possibility that his acting theory can serve as a link between text and body-centered acting theory. As a research method, we first conduct theoretical considerations on the concepts and limitations of text-centered representational acting and body-centered post-drama acting. Then distinguish between text and body-centered acting tools among Brecht's epic theatre, to summarize the terms and concepts he uses and to identify the existing effects he reaches while acting. Finally, this paper proposes an teaching model that transforms and develops Brecht's acting theory through the writer's teaching experience. However, there are limitations in generalizing its effectiveness because this study is based on the writer's experience. We hope that further research will help the diversity of acting education by developing in-depth insights on Brecht acting theory and various models of acting teaching methods.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.155-167
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• 2020

The stage manager role of "Our Town"(1938), a representative work of Thornton Wilder(1897-1975), is a unique theatrical device that presents a wide range of interesting and diverse perspectives in the actor's acting approach, the director's stage-shape methodology, and the audience's theater experience. Why did Wilder call stage manager role a stage manager, not just a simple narrator? Because "Our Town" intentionally lacks the basic elements that dramas must have, it needed a more self-reliant and omnipotent role in creating the margins of dramatic writing, including boldly omitted time and space, with infinite imagination. For this reason, stage manager role plays a much more complex and multi-functional role than a narrator. In response, this paper accurately articulates the concept of theatrical style and theatrical convention on the premise of the stage manager role in "Our Town," followed by making theatrical convention, the director of scene progress and scene change, the messenger of the writer's thoughts, and dramatic rhythm control.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.161-180
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• 2021

The purpose of this study is to define Juan Mayorga's play Hamelin as a Post-Epic Theatre and to study the practical directing technique for Hamelin as a Post-Epic Theatre. Post-Epic Theatre, which appeared after the Post-drama, has the purpose of presenting social issues, communicating interactively between the actors and the audience, and making the audience think about the issues presented by the techniques of immersion and alienation. To this end, after examining the theoretical background of the Post-Epic Theatre, the characteristics of the Post-Epic Theatre of Hamelin were identified and based on these features, '1. Building a visual image based on a Cubistic multifocal concept' and '2. The concept of directing was derived from reinforcing Meta-drama through role-playing'. Next, the actual directing technique was discussed, focusing on the chain action of immersion and alienation that occurs in the form of communication between actors and audiences. '1. Presenting the characteristics of the work through Post-Epic Theatre scenography', '2. Co-existence of actors and characters', '3. Building and utilizing body-centered gestus' are them. As a result, demanding an active attitude from the audience, various experiences such as critical thinking of the audience, strengthening the characteristics of post-epic dramas, and active meaning creation were made possible.