• The Journal of the Korea Contents Association
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• v.18 no.7
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• pp.64-73
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• 2018

Pre-production has become one of the more noticeable new trends in the Korean drama industry. The trend is being led both by the outsourcing producers and the incumbent broadcasting companies. In particular, the broadcasting companies seem to favor the mode of pre-production more and more, and that is happening not only when they are working on their own but also when collaborating with outsourcing producers. It has been generally proven and believed that the recruitment of A-list production factors is one sure way to produce better commercial results in the Korean drama industry. Then, the recent phenomenon of the pre-production is happening with the lack of the of A-list factors' participation. Especially, A-list writers have been showing a high degree of reluctance to take part in the pre-production, mentioning the inability to reflect the audience's responses on their stories. While the pre-prodction is being adopted in various genres, it is observed that the pre-produced dramas with multi-genre features have a higher chance to succeed.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.2
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• pp.164-172
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• 2018

This paper examines the relevance of pre-production and storytelling in big data analysis and, focusing on JTBC's Man to Man series, looks at how the drama's storytelling should be structured. In this study, we conducted text mining on blogs focused on a particular topic to read the viewer's thoughts on pre-produced dramas and on 67 blogs written about Pre-Production Dramas from 2016.12.15 to 2017.12.15. Also, we conducted sentiment analysis about the Man to Man series, which is not only a pre-production drama, but also has storytelling issues. The blog text extraction and text mining were analyzed using the OutWit Hub and the R, and the tools.provided by social metrics were used to make sentiment analyses of the larger data. Sentiment analysis revealed that the viewers of the Man to Man series did not agree with the romance between Kim Sul-woo and Cha Do-ha, due to the lack of reality in the female characters. Therefore, it was concluded that it is crucial to increase the reality of the characters in order to increase the audience's empathy. These studies will continue to be necessary, because they will form the basis for digitally driven storytelling studies and will provide valuable materials for conducting predictions and instructions in the cultural content industry.

• (The) Research of the performance art and culture
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• no.38
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• pp.297-347
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• 2019

Jie Jie Hao Yin 『절절호음(節節好音)』 is a script collection produced during the Qianlong's ruling Period which had one of the most flourished period of Qing Dynasty's Palace Drama. This script collection is consisted of 86 scripts of 6 Festival Court Plays: New year's day (元旦), Lantern festival(上元), Yanjiu festival(燕九), Snow appreciation(賞雪), Day of Kitchen god worshipping(祀竈), New year's eve(除夕). These scripts are effective records to study the New Year's Eve Drama of Qianlong Period. Jie Jie Hao Yin carry out the performances not only through Kunqiang (崑腔), and Yiyang Tune (弋腔), but also through various types of entertaining performances such as dance, masque play, puppet show, and story telling. Most of the songs were sung by various gods praising the era of peace as the holiday approaches. In the contents of revealing the luck to be brought by the holidays, it sought for the colorful transformations of stages through adding humoristique short stories or various feast genres in between the performance. It also tries to seek for diversities of stages through active application of acrobatics. It also portrays folk customs from BaiYunGuan's temple fair, Yanjiu Festival in YanBin, the Lantern Fair of Lantern Festival, and various activities of wet markets from New Year's Eve from diverse points of views. Especially through various shows and Chinese folk-art forms, the popular folk activities and entertainments near Beijing in the beginning era of Qing Dynasty can be observed. Jie Jie Hao Yin is a very important resource to look at the popular art activities of Beijing during Qianlong Period, and how the Palace culture accepted the folk cultures and applied to its own advancements.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.510-524
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• 2016

The 4-part series of , the 6-part series of , the 7 part-series of , and the 6-part series of differ in terms of their themes, although each one of them focuses on Asia. By winning prominent prizes around the world, these documentaries produced by the 'Insight Asia' Project Team of the Korea Broadcasting System (KBS) were affirmed of their competence in producing quality material. The purpose of Insight Asia Project was to improve the quality of KBS documentaries, and to make them competitive in the world market, Europe in particular. The specific goal 'Insight Asia' Team set for itself was to produce, in 5 years' time, documentaries of equal caliber to the (pre-Murdoch) National Geographic and the BBC. Unfortunately, the "Korean Wave," which was once active in the drama genre, was in stagnation at the time the team was being launched. As a result, KBS shifted refocused on documentaries as its driving force and provided detailed minute plans of action. However, the 'Insight Asia' Project was suspended abruptly in its fourth year, after a change in management in the network, and a discussion or evaluation on 'Insight Asia' Project never occurred. This study's objective is to retrace how the project 'Insight Asia' had been developed, and to clarify its meaning with respect to the KBS's globalization project. For this study, producers who participated in the project were interviewed.