• KSII Transactions on Internet and Information Systems (TIIS)
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• v.13 no.5
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• pp.2491-2508
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• 2019

This research investigates the media consumers' behavior with behavioral economics perspective, especially regarding TV content viewers' behavior; how do online communications influence TV viewers' decision when choosing a new TV content among options. We focus on quantity and attribute of comments or reactions on the online news articles. We analyze that online communications data, which were generated before the first broadcast, affect the TV content consumers' choice for a new TV series. Here we identify a predicted utility, experienced utility and distinction bias in TV media consumption to find the effectiveness of the first viewing choice on whole TV series' episodes. To avoid the crucial influence by exogenous factors, such as season and social issue, the test was done with specific conditions. This research found that the total number of reactions to the comments by itself positively affects the audiences' decision-making behavior for a new TV content choice. This influence was regardless of favor/ non-flavor reactions. This study contributes to the literature on media economics and management by exploring the media content users' consuming behavior and making a first step for finding an important influencer on the media content consumption.

• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.96-113
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• 2020

A new form of media is changing the expression and content of fashion. In this paper, fashion films that have appeared since 2010 - when digital fashion communication was increasing - will be discussed and explored to consider how technological transitions in fashion media are changing the appearance and role of fashion. A literature review was conducted to derive characteristics, types, and expressive elements of new media fashion films, which were defined for this study as fashion films produced and distributed since 2010 using digital media. Films were categorized into three types: promotional, editorial, and independent fashion films. Furthermore, elements of the films were identified as fashion mise-en-scene, auditory structure, and content structure. Types and expressions of digital fashion images in 40 fashion films were analyzed according to these elements. The results showed that promotional fashion films maximize various narrative and sensory effects on fashion products, whilst editorial fashion films strengthen the role of entertainment. Independent fashion films expand the area of fashion and promote the diversification of fashion systems. Moreover, the results show that fashion films are not a secondary form of media that just expresses fashion; they provide a tool for the creation of new fashion content. New media fashion films promote the expansion of expressive spectra and boundaries, offering various multisensory experiences of fashion, and enhancing creativity and the aesthetic values of fashion.

• Journal of Digital Convergence
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• v.14 no.10
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• pp.431-438
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• 2016

This study focused on the Korean-wave content consumed in the global market and analyzed success/failure factors of services through business model analysis. It aims to offer an effective new media content platform model. ViKi, Drama Fever, Maaduu.com which are representative global OTT were researched on management strategy by case analysis. The success of the global OTT platform is organized into three factors, target customer coverage, revenue model and community activation. Clear and wide coverage of target customer is important to determine the value of the service. Also, revenue model based on the pay service and community for Korean-wave fandom are essential to make good performance in new media platform business.

• Journal of Fashion Business
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• v.24 no.1
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• pp.75-87
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• 2020

The purpose of this study is to find trends in new media fashion content by analyzing the fashion content of the official Instagram accounts of domestic fashion magazines that are being transformed by digital media. The framework for these analysis of fashion content type and methods of production is based on one used in an earlier research project. Empirical analysis is conducted on Vogue Korea's official Instagram accounts, using the highest number of major views as the secondary measure of interest. After screening for fashion content in posts on the Vogue Korea account for four months, 291 short video postings were extracted to analyze the number of views the postings received. The results were categorized as 'star', 'show/exhibition', 'product', 'shop', 'fashion film', 'designer', or 'event', included in the data are the number of postings by type and the number of views by post. Based on the characteristics of the creator and the editing, the posts were classified into 'professional production highlight', 'professional production private', 'UCC' or 'GIF' videos, the number of views per post were also collected. The research results show different levels of interest depending on the type of fashion content, and also on the way the videos were produced. The study also investigated how the combination of these two factors affects interest. When producing a new media fashion content, combining a 'star' type post with 'professional production private' video content was most popular. The selection of production method is therefore important even given the same type of content.

• Cartoon and Animation Studies
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• s.44
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• pp.235-261
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• 2016

Media consumers in the context of the Internet and digital media are using the same content to a variety of platforms. As such, the content of various genres is converted to the form of a new content through the process of fusion, combination, transformation, differentiation, reproduction, etc on the basis of digital media. That is referred to as trans-media. In order to create the successful content in trans-media era, it requires the work of Edi-curation. Edi-curation work is the act of editing and adding meaning to the curation work of curators. In that sense, this paper analyzed the definition and meaning for Edi-curation of publishing and comic(webtoon) content in trans-media era. Edi-curation process induces the changing role of consumers and producers of content in the digital media experience. In process of Edi-curation, consumers(producers) will soon lead to a media producer(consumer), namely proconsumer / produser. Diversification of digital platforms and devices, digital 1 person (or SNS) appeared in the media, etc. are also required to Edi-curation of content and comic(webtoon) published in a variety of ways. Depending on the intention of media producers (or consumers), content through the process of replication, montage, disassembly, dismantling, hypertext, compression, and reconstruction births to new content. The work of Edi-curation has the significance that it affects the way the media producers work in creative process, as well as the reading content of the media consumers. In the publishing content, Edi-curation work is the logicality destruction of a chapter or a paragraph, a sentence of colloquialisms, card news, the deformation of the utilization of video and media content. Meanwhile in the comic(webtoon) content, we mention the destruction of cut(frame), the various modifications of speech bubbles, onomatopoeia, and mimetic word.

• The Journal of the Korea Contents Association
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• v.18 no.10
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• pp.40-52
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• 2018

Media can be considered as a type of play for kids in this new media era. Researches on media content for kids have mainly focused on educational effect or specific features such as design, but a great deal of kids content is created for fun and enjoyment. This study analyzes fun factors of the most popular kids content on Youtube: Kongsuni and Friends, Carrie and Toys, and Pinkfong. The result shows that seven fun factors can be grouped into three categories; 1) Self-determination and independence are related to the media environment; 2) Sensuous vividness, empathy, and physical dynamic are related to the content; 3) Self-expression and social interaction are related to associated activities. This study extends our perspective on kids content by analyzing fun factors in the comprehensive process of media consumption.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.13 no.6
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• pp.3023-3036
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• 2019

This study investigated the television (TV) content viewers' behavior influenced by online communication at the choice of new TV series on a terrestrial streaming platform. For exploring the impact of the anchoring effect on the TV content consumption, this study analyzed the correlation between the first episode's TV ratings and the data of online comments or reactions. These data were potential audiences' communication, which were generated on the online article three weeks before the first broadcasting began. To avoid the crucial influence by external factors, such as season and social issue, the test was done with eight (8) TV series which have same genre (drama), similar core audience targeting (20-49's women), similar broadcasting period (Jun-Oct 2016), same scheduling (10.00 to 11.00 pm, weekdays) and aired on terrestrial TV platforms. This research found that not only the amount of comments and reactions, but also the attitude about the comments created before broadcasting, positively influence the audiences' decision-making behavior for new TV content choices. This investigation contributes to the literature on media economics and management by exploring the media content users' consuming behavior with behavioral economics perspectives (anchoring effect) and making a first step for finding a new effect on the media content consumption.

• Journal of Multimedia Information System
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• v.8 no.3
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• pp.167-174
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• 2021

This paper compares VR cinema with interactive cinema from an interactive perspective to examine cinemas as a new medium. Rather than revealing the difference through this, the focus is on presenting a methodology that understands the cinema in a new environment that is now standing at the starting point. The development of video technology is changing not only the external elements of content but also the internal storytelling method, but the lack of killer content has always been pointed out as a problem compared to the remarkable development of technology. Therefore, it is necessary to specify the characteristics and types of interactions represented by VR (virtual reality) and new media represented by interactive media and to present directions. Therefore, the types and characteristics of interactions were compared with VR film produced in line with the new phenomenon and interactive film . Through this, we would like to present the meaning and value of the new film format from a media perspective.

• Journal of Multimedia Information System
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• v.8 no.4
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• pp.277-284
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• 2021

Despite skepticism about commercial potential, the stereoscopic 3D cinema is still a form that any filmmaker can choose to employ for its aesthetics and its immersive potential. Based on a haptic illusion, the stereoscopic media content requires a new perspective different from the principle of 2D media content in terms of creation and acceptance. This paper examines the technical and aesthetic issues of stereoscopic 3D film production from the perspective of today's emerging realistic and immersive media through a case study. One of the key factors for successful content creation and research and development in stereoscopic 3D cinema is the combination of artistic principles together with technical mastering of the new image technology. The purpose of this paper is to outline the principal challenges and research topics in stereoscopic 3D cinema through a case study of stereoscopic 3D pilot film production for the 'User-Selective UHD Stereoscopic Media Service Platform' of the ETRI (Electronics and Telecommunications Research Institute). This paper intends to examine stereoscopic 3D filmmaking workflow and production methodologies, as well as technical elements and aesthetic issues.

• International Journal of Internet, Broadcasting and Communication
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• v.14 no.1
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• pp.37-43
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• 2022

This study is a sustainability study of K-Music beyond K-Pop through New Media. New media literally means 'new media'. When TV, classified as legacy media, first appeared in the world, it was an innovative new media platform. Of course, it is considered the most traditional legacy media. However, the definition of new media inevitably changes with the times. Most of the media called new media today are based on online and mobile. This thesis focuses on popular music including crossover traditional music genre. And we define popular music exported abroad as K-pop, and propose the possibility of globalization of Korean music using K-pop users and new media, a metaverse based K-pop audition platform, as consumers and suppliers in the global market. Hallyu, the studying of K-Pop through the study of attitudes and economic effects of K-pop, such as reactions to the spread of K-pop and the reactions of fans who like K-pop, are constantly being discussed in various ways. But there has been no case of cultural technology research that linked the sustainability of Gugak as the Korean music through new media to the K-pop business platform. As the overflowing data pours out in the virtual space as an act that gives the meaning of existence, the online is able to become an open market that provides reliable information all over the world. Therefore we would like to propose on the sustainability of Korean music through the 'Korean Traditional Music Broadcasting Metaverse Audition' beyond the K-pop business model as the K-Music content in the cultural technology era.