• The Journal of the Korea Contents Association
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• v.13 no.4
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• pp.97-103
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• 2013

The research is centered towards analyzing the differentiation of the characteristics and organization of programming strategy and channel positioning by selecting Korean International Public Relations Broadcasting Stations Arirang TV and KBS World. According to the results, Arirang TV positions Korean culture content-implied educational programs as their strategy while KBS World places the main programs of KBS1, 2TV with many entertainment programs such as dramas and entertainment shows. Arirang TV's programming strategy is well-fulfilling the purpose of promoting Korea's culture contents by organizing their programming with documentaries, tourist information, and daily living information. On the other hand, KBS World works as the agent of the spread of the Korean Wave by filling their program with dramas and K-pop programs such as . Due to the difference in programming strategy of these two broadcasting stations, Arirang TV has positioned itself as a diplomatic channel to spread Korean culture and KBS World a channel representing the Korean Wave. However, there are problems of inefficiency due to recurrent investments because of the fact that both broadcasting stations' programming strategy is to promote Korean culture and spread the Korean Wave by aiming similar targets such as foreigners or overseas Koreans.

• Korean Management Science Review
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• v.22 no.1
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• pp.47-66
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• 2005

Online game business has emerged as the most lucrative entertainment Industry, with over 10 million players in South Korea. The popularity of online games can be attributed to the availability of broadband network and the presence of numerous PC Bangs and around the country, which have pushed online games Into the main-stream entertainment culture. The age distribution of online game players is expanding and a variety of new games are under development to target certain age groups. While the interactive entertainment market continues to expand, with many new online game publishers entering the market, relatively little is known about which factors influence online game players' behavioral intentions to play continuously in this area. It appears that in this extremely attractive and growing services segment, academics, as well as practitioners, would benefit from in vestigating the relationships among the players' loyalty, interactivity, the sense of presence and the impacts of several other key game-related constructs. Several types of interaction in on-line games and their relationship with the flow construct are investigated, and the resulting conceptual model is proposed. Based on data collected from online questionnaire survey, the validity of the simultaneous equation model has been tested and interesting conclusions have been developed concerning the relationships between the players' loyalty to the sense of presence, flow, satisfaction and interactions. Other interesting results concerning game development strategy are also provided.

• Journal of Technology Innovation
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• v.12 no.1
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• pp.241-269
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• 2004

Online game business has emerged as the most lucrative entertainment industry, with over 10 million players in South Korea. The popularity of online games can be attributed to the availability of broadband network and the presence of numerous PC Bangs and around the country, which have pushed online games into the mainstream entertainment culture. The age distribution of online game players is expanding and a variety of new games are under development to target certain age groups. While the interactive entertainment market continues to expand, with many new online game publishers entering the market, relatively little is known about which factors influence online game players' behavioral intentions to play continuously n this area. It appears that in this extremely attractive and growing services segment, academics, as well as practitioners, would benefit from investigating the relationships among the players' intentions to play, flow, and the impacts of several other key game-related constructs n consumer behavioral intentions. Several types of interaction in on-line games and their relationship with the flow construct are investigated, and the resulting conceptual model is proposed. Based on data collected from online questionnaire survey, the validity of the simultaneous equation model has been tested and interesting conclusions have been developed concerning the relationships between the players' behavioral intentions to play, flow, and interactions. Other interesting results concerning game development strategy are also provided.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2004.10a
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• pp.200-218
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• 2004

Online game business has emerged as the most lucrative entertainment industry, with over 10 million players in South Korea. The popularity of online games can be attributed to the availability of broadband network and the presence of numerous PC Bangs and around the country, which have pushed online games into the mainstream entertainment culture. The age distribution of online game players is expanding and a variety of new games are under development to target certain age groups. While the interactive entertainment market continues to expand, with many new online game publishers entering the market, relatively little is known about which factors influence online game players' behavioral intentions to play continuously in this area. It appears that in this extremely attractive and growing services segment, academics, as well as practitioners, would benefit from investigating the relationships among the players' loyalty, interactivity, the sense of presence and the impacts of several other key game-related constructs. Several types of interaction in on-line games and their relationship with the flow construct are investigated, and the resulting conceptual model is proposed. Based on data collected from online questionnaire survey, the validity of the simultaneous equation model has been tested and interesting conclusions have been developed concerning the relationships between the players' loyalty to the sense of presence flow, satisfaction and interactions. Other interesting results concerning game development strategy are also provided.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.29
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• pp.173-196
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• 2006

Online game business has emerged as the most lucrative entertainment industry, with over 10 million players in South Korea and over 30 million in Japan in 2005. The popularity of online games can be attributed to the availability of broadband network, pushing online games into the mainstream entertainment culture. The age distribution of online game players is expanding and a variety of new games are under development to target certain age groups. While the interactive entertainment market continues to expand, with many new online game publishers entering the Japan, relatively little is known about which factors influence online game players' behavioral intentions to play continuously in this area. This study investigates major factors which influence the acceptance of online game services based on the theoretical backgrounds of the technology acceptance model(TAM) and the flow theory. This paper extended the Davis' TAM model by including the flow concept as another major factor toward the intention to play online game. Based on data collected from online questionnaire survey, we show that the proposed model provides an adequate fit to the data, and that the flow experience is another important factor influencing the intention to play online game, as well as the perceived ease of use.

• Cartoon and Animation Studies
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• s.6
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• pp.7-22
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• 2002

Animation constitutes the core of the media industry, which in turn lies at the center of the cultural industry. It is considered one of the industries where South Korea has the competitive edge over other countries. With the pool of customers getting wider, the genre of animation has become more and more diverse, forming a great market for it. Aware of this trend, this study focused on animation as a part of the pop culture, and on providing corresponding various viewpoints for future cultural studies. This researcher measured the practicality and persuasiveness of this study through Shreck, a three-dimensional C.G. animation which is acclaimed for its success in dismantling the old grammar of animation movies that represent the anti-Disney ideas. This researcher felt it imperative to heed the unique language of Shreck, which contains discourses on various cultural ideologies such as paradoxical structure that pits entertainment that is shown through dismantling of the canon, feminism and antifeminism against each other. This study analyzed the entertaining element of the animation genre by means of the Semiotics of Keith Moxey, thereby attempting to establish a legitimate social status of the genre, whose artfulness has been depreciated in the art society. In chapter II, this researcher examines the chronological development of three-dimensional C.G. animation that has shown a rapid advancement. Chapter III defines the cultural ideology of Shreck by exploring basic theories and texts employed in analysis of art works. This study started with the assumption that defines, from the viewpoint of symbology, the animation text as an aggregate of discourses on entertainment, and competitive and paradoxical ideologies. Then, this researcher analyzed the text and the generation process of meanings in Shreck. Consequently, this study has come to the following conclusions: First, Shreck induces changes of concepts about the canon by means of distorting and reversing the existing animation movies, which seems to reflect in the contemporary tendency of seeking new interpretations of entertainment. Second, Shreck shows up the cognitive changes of our age as to feminism by competing feminism against antifeminism. Although Shreck serves as a venue of competition between the two opposing ideas, it stops short of brushing off women as outsiders in society. Rather, it represents the resistance to the male chauvinism existing in the structures of animation and culture. As shown in the text analysis, Shreck presents an advent of a new ideology critical of the previous animation films. In addition, it reflects in the struggle between the pro-feminism on the part of the viewers and the anti-feminism that lies in the social and culture structure. This study, however, is limited in its scope and selection of subject. First, although this researcher has stressed the importance of understanding the animation as part of the pop culture and conducting researches within the historic paradigm, this study fails to provide an in-depth insight in the impacts that the changes in the C.G. industry and the systematic conditions may have on the three-dimensional C.G. animation genre. Furthermore, this study runs the risk of being understood as pro-American due to its selection of Shreck as its research subject.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.131-142
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• 2019

This paper is intended to examine and analyze the new Chinese words as the result of culture content. The development of the Korean entertainment industry has created a Korean wave around the world. Through this, many Korean words, Internet vocabulary, and cultural concepts have begun to enter China. Among them, there are many new words that have appeared on the Chinese Internet due to the culture content. As the number of Korean fans and Korean learners increases, new words on the Internet are widely used. The new Chinese words, which are influenced by Korean cultural content, are considered an important part of new Chinese vocabulary. To accurately recognize and understand this, first of all six categories of the new Chinese words were analyzed, which were figurative meaning, substitution, loan of foreign words, abbreviation, compound word, derivation. This formulation also works on the Chinese words with the influence of cultural content. There are three types of the Internet new words form Korean cultural. Which were new words in Chinese characters, new words in alphabets, extended meanings. And had analyzed new words through the acquisition of new meanings. Also took specific news titles and songs according to each category. Through new Chinese words, The influence of cultural content had been confirmed. It is expected that these new Chinese words enrich Chinese vocabulary, also help to facilitate communication. And these new Chinese words are often used in public media or in everyday life. We should recognize the existence of these new Chinese words, and have an accurate perception of them.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.1-13
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• 2020

Tencent is an internet-based entertainment platform corporation using technology to enrich the lives of Tencent platform users and assist the contents expansion. Since 2000, Tencent have developed a great growth and innovation in entertainment contents domain. Tencent have become the market leading innovator due to the imitative innovation and M&A. The present study designed case study analyses to investigate the mechanism with regard to the growth strategy of Tencent corporation. Tencent began with imitative internet-based game and social messaging services but then added its own wechat messenger platform, now being extended to other products or services. This imitative innovation strategy enabled Tencent corporation to grow rapidly, to achieve outstanding growth. In addition, Tencent's M&A investment drive is underpinned by a vision of top management team and flexible organizational culture, from building out the Tencent's entertainment platform, game, finance, e-commerce, to global market expansion. While our results shed light on the implications to understanding Tencent's growth, there are limitations of the current study that should be considered when designing next research.

• SUVANNABHUMI
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• v.16 no.1
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• pp.125-143
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• 2024

Korean dramas, commonly referred to as Koreanovelas or K-Dramas in the Philippines, have significantly influenced and reshaped Philippine television culture since the early 2000s. Their impact persists in contemporary television programming, reflecting the transnational flow of media texts across borders. As media content transcends geographical boundaries, local media companies have adopted the practice of producing adaptations of foreign television series for their audiences. This paper examines the adaptation of the Koreanovela The World of the Married into the Philippine series The Broken Marriage Vow, both of which are adaptations derived from the British show Doctor Foster. Through this comparative analysis, I argue that the process of localizing these television shows to suit the preferences of the target audience serves as a tangible manifestation of transnational adaptation. Particularly in an era of globalization, where entertainment is still a thriving enterprise, thus traversing international borders, this phenomenon demonstrates the evolving nature of television content as it adapts and caters to diverse cultural contexts let alone a profitable means to generate an ailing entertainment industry, especially in the time of the pandemic.

• Cross-Cultural Studies
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• v.36
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• pp.97-122
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• 2014

During the Edo-period [江戶時代 1603-1867], Japan accepted the modern western science and culture while trading with Holland since 1609, and also through the influx of optical instruments in the $18^{th}$ century the culture of viewing pictures began to be developed. Especially, the peep-boxes and their pictures had been imported from China and Holland since the mid 1750s when they were flourished. The peep-box was rapidly and widely spread. Soon after, the peep-boxes and pictures had begun to be produced in Japan (megane [眼鏡] and megane-e [眼鏡繪]) since 1770s when the early visual culture settled down in Kyoto and Tokyo etc. The visual culture developed with the peep-box contains two remarkable factors in the cultural history of the $18^{th}$ century Japan. First, the peep-boxes became the popular device of visual entertainment, and opened the first phase of the modern visual culture before the advent of photography and cinema in the mid and end of the $19^{th}$ century. Secondly, the peep-box played a role of an educative media as a 'window to the unknown world' in the $18^{th}$ century Japan, by showing various pictures of many European cities. Through the peep-box pictures the 'western images' were spread and knowledges of Japanese about the west increased, although they were recognized just as 'Holland's images' without differentiation in each country.