• Korean journal of communication and information
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• v.51
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• pp.117-135
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• 2010

The regulation of media concentration which is provided in the German Interstate Treaty on Broadcasting (RStV) is part of the rules forming the "positive broadcasting order" required by German Constitutional Law. This control ensures that the diversity of viewpoints can be articulated to the public. Broadcasting must operate independently from the state and from particular social groups if it is to be a genuine service to the public. One risk of economic competition in the media is a tendency towards the concentration of business enterprises. Moreover, economic competition is no guarantee for journalistic diversity. The aim of balanced diversity in the broadcasting sector can only be pursued by creating conditions under which different voices obtain the chance to be heard in an equitable manner. Within the framework of the meaning of section 26, it shall be assumed that there is a predominant impact on public opinion if the programs attributable to one company reach an annual audience share of 30 percent. The same shall apply if the company reaches an audience share of 25 percent and holds a dominant position in a related media-market or an overall assessment of its activities in television. The restriction of audience shares has limits such as that the audience shares of news programs and education and entertainment programs are pooled. Therefore, there is a vagueness about the productivity of different program branches.

• The Korean Journal of Applied Statistics
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• v.32 no.5
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• pp.653-669
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• 2019

The development of new media has gradually decreased the use of newspapers, which had previously occupied the largest share of media. Subscriptions have declined gradually and fell to 14 percent in 2016. This study explores the effects of Newspaper reader's characteristics on regular newspaper subscriptions. The data used for analysis was provided by the Korean Press Foundation and Media Audience Awareness Survey Data in 2016 and 2017. We considered gender, age, education, income, number of days of reading, reading time and amount of reading as the characteristics of the reader. Multiple logistic regression was fitted and interpreted to see what characteristics affect regular subscription.

• Journal of Korea Multimedia Society
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• v.19 no.5
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• pp.856-864
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• 2016

Recently, HD transmission was commonplace in the case of the terrestrial broadcasting, furthermore, 4k UHD broadcasts are also being pilot and such as HD contents are common even in smart-phones. Like this, through both the content and audience are in the situation to take advantage of the HD mobile TV, only QVGA video contents are being transmitted in the terrestrial DMB broadcasting. In this paper, introduction plan of HD DMB service for activation of DMB industry will be described in terms of technical, institutional, and policy to overcome the limitations of such as DMB broadcasting. Due to the introduction of HD DMB, high quality contents will be provided to audience and the advertising revenue DMB broadcasters increased so that the market share of DMB in mobile broadcasting be recovered.

• Journal of Distribution Science
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• v.13 no.10
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• pp.109-114
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• 2015

Purpose - The movie market has the characteristics of being a perfectly competitive market as well as a pure monopolistic market at the same time. This is because there are competitors in the industry but prices, although not fixed, have not changed a lot. Price competition may not have spread, but the competition is focused on artistic value, and the degree of box office success is most important. The artistic value is determined in the course of the production process. However, the degree of box office success is dependent upon the marketing manager. The marketing strategy represents the difference in the standard or quality of the movie. Inherently, the marketing manager adopts the entertainment strategy based on the quality of the foundation of the completed movie. At this time, the marketing manager knows the pertinent information (high quality/low quality) regarding the movie. This research study tries to reveal what should be the reasonable movie marketing expense, dependent on the quality of the movie. Research design, data, and methodology - Using a game scenario with different market players, the goal of the research analysis is to find out the following. First, the marketing expense is determined to maximize the profits after film production. Second, after the production costs are already committed, the manufacturer gets to choose the marketing level. At this time, there will be a profit maximization point, considering the competition. The premise of the research is as follows: if it is a good movie of quality, positive word of mouth increasing the audience continuously slows down the speed of the demand curve. If the movie quality is bad, the negative word of mouth decreasing the audience gradually hastens the speed of the demand curve. On the marketing side, when the manufacturer invests heavily in the marketing expense of the movie, consumer expectations increase to drive up the audience numbers. On the other hand, it is difficult to improve the profits excessively. When the manufacturer invests in marketing a little bit, the marketing expense is only relatively committed, therefore a lot of demand cannot be gained. Results - If a fixed market share is in a competitive situation, a low quality manufacturer expends relatively more marketing expense. If the situation assumes two manufacturers spend the same for the cost of production, the high quality manufacturer takes more profit. If the manufacturer expends less marketing budget to save costs, the optimum profit cannot be achieved since the other party (opponent) grabs the initial market share. Conclusions - In conclusion, investment is essential for market share to increase. We must refrain from a zero-sum game and have models where the game participants pursue the creative profits together. In the current film industry, there is the dominating logic of winner and loser but we have to create a film industry environment where the participants can be altogether satisfied and live together.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.24 no.2
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• pp.238-243
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• 2020

Although students can make their questions to clarify their curiosity, there are variety of reasons why a student cannot ask a lecturer. For example, they are ashamed to ask questions. In particular, in case of the class to attend many students, the situation for the difficulty of the question will be caused even greater. Recently, in order to overcome this problem, the Audience Presentation Program (APS) to share students' questions and comments have been introduced, it has widely used. The APS system enables students to ask questions more easily and comfortably. In this paper, we have analyzed the effect of the APS system on the basis of questionnaires in terms of easy-to-use, preference, engagement, etc. According to the results of this paper, we found that all students were satisfied with the APS system.

• Asia Marketing Journal
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• v.17 no.4
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• pp.63-88
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• 2016

K-Pop is hugely promoted offline/online in East Asia, while efforts to promote it elsewhere are kept to a minimum. Whilst addressing the role of digital marketing in the promotion of K-Pop in the Brazilian music industry this study aims to demonstrate that K-pop will provide its audience with a unique and engaging experience if it thinks globally and acts locally in its marketing and communication strategies. A survey of K-Pop's world fan base was carried out online with 1,074 fans to determine the validity of the hypothesis. The results have demonstrated the need to adapt global and intercultural strategies to local markets with increasing brand awareness through utilizing digital marketing. For example, to increase K-Pop's popularity and market share in Brazil, it is not required to sing in Brazilian Portuguese, contrary to what might be perceived but fully singing in English would help breaking into the market dominated by domestic music as songs would have a higher probability to be included in the international soundtrack of a Brazilian telenovela and promote the K-Pop artist not only across Brazil but also give the artist exposure in all the markets the Brazilian telenovela is exported to, opening an entry door to those markets. K-Pop audience segmentation and psychographic profiling is crucial to the understanding of each market's consumer's preferences, likes, dislikes and their buying habits as it was proven through Brazil's digital media, social media, digital music market and K-Pop market analysis within the global context of the study. It should be also considered that brand extensions are not standard everywhere and that there are cultures where different product categories are not directly associated with its main corporate owner which requires extensive local market knowledge to succeed. The primary and secondary data research that we conducted for this study intended to demonstrate that K-Pop can be successful in Brazil and in Latin America and increase their local and regional market share if digital marketing and communication strategies are tailored to each individual market.

• 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.

• English Language & Literature Teaching
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• v.16 no.4
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• pp.185-200
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• 2010

Nathaniel Hawthorne seems to realize the reader's role in bringing his creation of fiction to completion. Almost all of Hawthorne's prefaces may be considered in terms of their contribution to the writer's narrative strategy. When he refers to the audience in the prefatory essay, "The Custom-House" and other prefaces to his major works as "the Reader," Hawthorne is establishing a mutual complicity that will continue throughout the following narratives. According to this rhetorical alliance, the writer's obligation is to get the story into the reader's imagination by any means possible, while the reader's share is to believe the story as much as possible while it is being told. The ultimate issue is thus not whether any event actually happened as Hawthorne reports it but whether readers are willing to grant the event credence while they are reading. Hawthorne's relationship with his audience is not congenial. In his prefaces, Hawthorne sometimes reveals a narrator who evades a fixed identity. The introduction of an unreliable narrator helps illuminate the unresolved, elusive ambiguity in Hawthorne's stories. Hawthorne seeks to make his narrative ambiguous frequently utilizing the very same indeterminacy so often cherished by poststructuralists. No critical term may be more firmly associated with the works of Hawthorne than ambiguity. Looking for new readers with more fresh eyes, Hawthorne's narratives always remain open to reinterpretation. After all, Hawthorne's prefaces (sometimes including unreliable narrators) help him become one of the most frustrating and fascinating novelists.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.2
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• pp.211-232
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• 2024

This study examines the morphological and expressive aspects of fashion and its connection to music at Korean music festivals. The research involves a theoretical review and a case study analyzing fashion and music at rock, EDM, hip-hop, and jazz festivals in Korea from 2019 to 2023. The process of selecting fashion cases was reviewed by experts in the field of fashion, and expert focus group interviews were used. The study found that while fashion and music differ in terms of their fundamental morphological components of sensory media, they share features in terms of sensory harmony between their components. In terms of expressive aspects of fashion, it was found that the subject and object of expression are the same for the artist and for the audience. Both music and fashion have sensory transmission and communication between the subject and the audience, and both transmit personal and social meaning. Using these commonalities as indicators of relevance, a relevance evaluation was conducted. As a result of the evaluation, popular music festival fashion and music were interpreted as having a high degree of relevance in terms of expressing emotions and tastes, providing a sense of belonging to a community, and conveying cultural meaning.

• Journal of Digital Convergence
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• v.12 no.1
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• pp.295-303
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• 2014

This exploratory study deals with the digital policy proposal through emotional perception of real name SNS and WOM effect. Research was based on the audience trends analysis of the movies having official SNS sites and the movies not having official SNS sites among the opened 90 movies in Korea from 2012 to 2013. Therefore, researchers confirmed that the representative real SNS, facebook was utilized as emotional marketing tools and tried to analyze the effectiveness of SNS critically. The research results are the follows. First, the movies to actively utilize facebook showed statistically significant differences in terms of daily, weekly audience and seat share (occupancy ratio). It is indirectly confirmed that real name SNS such as facebook is much effective in WOM marketing. Second, in the daily trends and weekly trends, the movies showed a similar pattern and above all, the movies to actively take advantage of facebook maintained their audience trends. Thus the government and the corporation have to understand the emotional WOM effect of real name SNS for policy effectiveness. Therefore this study gives the contribution practically for boost up the policy effectiveness through emotional ripple WOM effect of the strength of weak tie of real name SNS.