• (The) Research of the performance art and culture
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• no.22
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• pp.123-155
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• 2011

This study aims to closely read Kim Jong-il's "About Stage Drama Arts" and disclose the new reality as evaluated by him. The study took the method by which to compare Kim Jong-il's theory on drama and North Korea's drama theory in the 1950s, and the findings of this study revealed that it was irrational to grant the adjective "new" to Kim Jong-il's drama theory. This is because tradition inheritance and newness cross each other. First, his tradition inheritance aspect was found in his playwriting method. In playwriting method, Kim Jong-il's argument about characters and language is an extension of the 1950s drama theory, and his theory on JongZa(seeds) is the transformation of the concept proposed in the 1950s. Also, the expression means of dramas and drama arts is dialogue, and his guideline to focus on the art of conversation rather than on acting is interpreted to be a reduced concept of drama arts, compared with the 1950s drama theory. On the other hand, his newness aspect can be clearly discovered in the materialization of stage. The fixed stage background, without dark change, shifts to another situation as it is, and this stage setting is clearly distinguished from the previous stage setting. The attempt is worth highly evaluating to allow the stage to reflect actors' emotional flows and let them act. Also, the attempt is distinctively distinguished from previous drama theories to allow the chorus' positive involvement in dramas so as to directly deliver characters' emotions to the audience and to trigger the audience' response as intended by creators. From the perspectives of drama evaluation, Kim Jong-il's theory and practice regarding stage and music is understood to maximize the audio-visual effects. Therefore, Kim Jeong-il's drama theory, as he argues, is not a completely new theory, but a transformational inheritance of existing drama theories, and a creation theory with focus on expansion of spectacles.

• SUVANNABHUMI
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• v.16 no.1
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• pp.15-38
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• 2024

In this paper, I will pursue initial ideas I formulated in 2012 about the permeation of Korean influences in Philippine popular culture, particularly in the production of serialized TV drama/soap operas or the "teleserye" [tele for television + "serye" or series; thus, TV drama series]. I called the phenomenon the "Korean Turn" as I observed the emulation of Korean televisual drama (nowadays called K-Drama) modes and practices by local production through various means of cultural appropriation. This time, I will expand my exploration to other aspects of Philippine entertainment and other cultural practices. I will also update my observations on the continuing "Korean turn" in the teleserye. I will argue, on the one hand, about the success and soft power of hallyu or the "Korean wave" in the Philippines; and on the other, about Philippine culture's enduring ingenuity in its reception and repurposing of hallyu. Ideas to be yielded here will form part of a potential framework in understanding the dynamics of the interface between Korean and Philippine cultures, in the context of globalization. I assert that popular culture remains to be an undervalued field of inquiry, as far as these contexts are concerned.

• Journal of The Korean Association For Science Education
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• v.21 no.2
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• pp.316-327
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• 2001

KAIST' is the TV drama which has portrayed modem science & technology and the life of scientists & engineers for about one and half year. The purpose of this study is to appraise the drama 'KAIST' as an informal science learning. Using the interesting materials such as soccer robots, computer systems and satellites, the drama arouse students' interest and frequent watching. In general, the drama 'KAIST', as a source for informal science learning, played a positive role: it showed the image of scientists who have humane and sociable character being different from the students' image of real scientists, and changed positively the students' science-technology related attitudes, especially the attitudes towards scientists/engineers, science/technology, and the social nature of science/technology. Teachers commented that the drama 'KAIST' might arose students' interest in science, but the made-up contents and the genius-like characters could cause negative educational effects.

• International Journal of Contents
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• v.9 no.4
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• pp.52-59
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• 2013

The present study explored the reception and consumption processes of a Korean audience's viewing of local and international television dramas. Findings indicated that the influential factors on the level of viewing in regards to Korean, American, and Japanese TV dramas among Korean viewers differed. In particular, a significant difference was found in terms of perceived drama characteristics. Applying niche theory, the present study also examined the audience's motivation for watching these television dramas. Results demonstrated that Korean TV dramas possessed the broadest niche breadth and were the most competitive. In a comparison of the perceived characteristics of TV dramas, American drama earned competitive superiority for most characteristics. The implications from the results were discussed in terms of cultural discount and proximity.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.357-365
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• 2017

In this study, we examined how the United States, Chinese, and Japanese viewers perceive the morality of the main characters in the family drama 'Take Care of Mom' and the influence of the perceived morality has on drama enjoyment and quality evaluation. Results show that the viewers from all three countries evaluated 'Hoonjae' favorably and evaluated selfish older brother, 'Hyung Kyu', unfavorably. This means there are common norms that exist in all three countries for judging the good and evil in a drama. However, the main female characters that played opposing characteristics were evaluated differently from all three countries. This is because the relationship between parents and children, and the role of mother and woman were perceived differently from each country. These results support the argument that consumption of drama may differ by viewer's cultural background. Additionally, the research hypothesis that 'moral evaluation of major characters will influence the drama enjoyment and evaluation of the drama quality' was not supported in China and Japan, and was only supported by the U.S. viewers.

• Journal of Industrial Technology
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• v.1
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• pp.3-8
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• 1981

The aim of the study is to find out the proper stage of the Korean traditional Mask Drama. For this purpose, the study investigates into the traditional Mask Dramas representative in Korea. It discusses the nature and the form of the stage of them, and through the analysis of the stage, extracts a unique elements for the stage of the traditional Mask Drama.

• The Journal of the Korea Contents Association
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• v.20 no.6
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• pp.64-76
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• 2020

This research wanted to examine what narratives and discourse were being formed in web drama contents young generations were going crazy about. To understand the characteristics of such love epics and to know what narratives were being formed based on narrative structures and comments, this research specifically used the web drama produced up to the season 4 for the first time in Korean web drama history with a large number of accumulated views. It was found that the narratives of the drama composed the romantic relationships of four couples as independent episodes, and realistically highlighted separations and reunions of those couples, and suggested concrete methods to solve agonies and conflicts they would experience in such relationships. And, in user comments, there emerged relational narratives confusing friendship and love between partners of opposite sex, narratives regarding the third person as enemy, and narratives on typical sex roles in such romantic relations. And, the culture seeking subjective love style and sharing and sympathizing with the love histories also appeared.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.713-725
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• 2016

Ambidextrous innovation is defined as the innovation capacity to pursue simultaneously both exploration and exploitation. Based on the organization learning and innovation management literature, the ambidexterity hypothesis predicts that ambidextrous innovation would enhance firm performance. This study attempts to verify the ambidexterity hypothesis in the context of TV drama production industry. TV drama producers' ambidextrous innovation is conceptualized as the simultaneous pursuit of exploratory and exploitative approaches in selecting genres of dramas. Data collected from 57 drama producers in 714 Korean TV drama projects between 1994 and 2009 support the ambidextrous hypothesis. The interaction between exploratory and exploitative approaches in genre selection is indeed positively related to the drama performance in terms of the viewing rate. Such results suggest that managers ought to manage high levels of both exploratory and exploitative innovation simultaneously in order to cope with increasing uncertainty, especially in highly uncertain cultural industry.

• Korean Journal of Human Ecology
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• v.22 no.4
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• pp.707-718
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• 2013

The purpose of this study was to examine media influence on college students' thoughts and explore determinants of the media influence. Between September 7, 2013, and September 12, 2013, a questionnaire survey was administered to students at university-A and total 328 useable responses were collected. Findings are as follows: (1) Houses in TV drama had a strong influence on college students' future housing preferences but had a relatively weak influence on housing satisfaction and concrete housing expectations; (2) students perceived that houses in TV dramas did not reflect reality well; (3) females and/or relatively younger respondents tended to perceive a stronger influence of media on their thoughts and expectation on housing; (4) respondents who had a stronger desire to imitate lifestyle of TV drama characters and a stronger perception that houses in TV drama reflected reality well, and the respondents whose consumption preferences were more easily influenced by media were found to perceive media influence on their housing expectation stronger; and (5) to see regression analysis results, a linear combination of desire to imitate lifestyle of TV drama characters, perception of reality reflection of houses in TV dramas, gender, perceived media influences on clothes and accessories, and electronics preferences was found to be able to explain 46.4% of variance in media influence on housing expectations.

• The Korean Journal of Community Living Science
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• v.19 no.3
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• pp.399-410
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• 2008

The main purpose of this study was to examine the effects of drama activities using children's literature on the improvement of young children's creativity. To answer this research question, 2 groups, an experimental group composed of 18 five-year-old children who attend "J public Kindergarten," and a control group composed of 18 five-year-old children who attend "H public Kindergarten," were organized. Both kindergartens were located in Hwaseong, Gyeonggi-do. The experimental group participated in drama activities twice a week; 16 times for 8 weeks. In this study, the change in children's creativity was measured by conducting a pre-test and a post-test developed by Chun(2000). The results after 8 weeks of experimentation indicate that the drama activities using children's literature had a positive effect on promoting children's creativity. Comparing the scores of the pre-test and the post-test, it was obvious that the experimental group's creativity had been improved. The experimental group's creativity including the sub-elements of the test such as fluency, flexibility, uniqueness, and imagination, was improved more than that of the controlled group.