• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.168-180
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• 2013

Based on the strategic contingency theory, this study empirically examines Korean TV drama producers' changing adaptive behaviors in terms of genre variety given different levels of environmental uncertainty. The extant literature has suggested that firms tend to increase product variety in order to cope with increasing environmental uncertainty. This study attempted to verify the hypothesis that TV drama producers would employ wider variety of genre in the period with more uncertain environment(2003-2009) than the period with stable environment(1994-2002). Empirical results support the hypothesis, implying that TV drama producers tend to repeatedly produce dramas with the same genre in order to pursue efficiency in stable environment whereas they tend to employ a variety of different genre in order to cope with increasing environmental uncertainty.

• 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.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.6
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• pp.302-308
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• 2020

This study investigated when TV drama producers choose famous actor/actress based on 288 TV dramas aired in Korea from January 2014 to December 2017. We considered the length of drama, measured by the number of episodes, as a major determinant for choosing famous actor/actress, as well as the existence of originals, use of independent producing agents, and producers' fame as interacting factors between length of drama and choosing famous actor/actress. We detected that drama length had a significant effect while original dramas had an interacting effect. We interpret this result as the effect of mismanagement of drama producing. While a famous actor/actress has the potential to provide economic gains to drama producers, drama producers should be careful in choosing him/her since his/her drama guarantee should be high. This is why producers should choose a famous actor/actress when the length of the drama is short and should prefer an original drama.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.286-308
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• 2021

For a long time, dramas that everyone has enjoyed at home have become the most popular cultural contents due to the development of digital technology and the influence of Hallyu.(Korean Wave) This study was conducted in-depth interviews and participatory observations on the background, role, identity, and labor experience of TV planning producers who appeared in the drama production process with the implementation of outsourcing production policy in 1991. The number of dramas produced increased sharply in the mid-2000s due to the Korean Wave. Against this backdrop, the planning producer has expanded their scope in the drama production process and emerged as a new drama producer. The planning producer plays a role in creating an environment in which writers and directors can be selected with the identity of "not a creator but a producer of dramas" and lead drama planning. OTT and watching TV on the Internet have made it possible to watch dramas without TV. As this phenomenon accelerates and becomes commonplace, fewer consumers adhere to the traditional way of watching dramas using TV, and consumers' emotional tastes become more demanding. In this environment, TV planning producers are leading the production of dramas, exerting as much influence as writers and directors. They are also building new power relationships among drama producers by securing planning and financial power.

• The Journal of the Korea Contents Association
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• v.12 no.12
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• pp.627-638
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• 2012

This study empirically examines the concept of dynamic capability to recombine the resources such as directors, writers, and actors in the TV drama industry which is one of the most knowledge-based and project-based organizations. Based on the extant literature, it is argued that an organization's usage pattern of critical resources could partly reflect its dynamic capability. This study attempted to verify the hypothesis that Korean TV drama producers would utilize the same resources less repeatedly in the period with more uncertain environment(2003-2009) than the period with more stable and predictable environment(1994-2002). Empirical results partially support the hypothesis, verifying that there are different usage patterns in employing directors between the two periods but that is not the case in employing writers and actors. Such results imply that project-based organizations repeatedly use the same resources in order to pursue efficiency in stable environments whereas they tend to use a variety of different resources in order to adapt to uncertain environments.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.414-422
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• 2007

This paper aims to find the reasons for Korean television drama being popular in Asia. In particular, the author argues that the role of women's Korean drama fandom is important in the popularity of Korean television drama. What is the role of fandom? How is the gender identity related to women's television viewing? What is the communicative process between the Korean drama producers and fans? What problems does the Korean Wave face recently? These are the questions dealt with in the paper.

• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.1-12
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• 2015

This study attempted to verify the influence of strong and weak ties on the performance of project based organizations by examining various tie relationships in the Korean TV drama making industry. The extant literature has suggested that the impact of network ties depends not only on their strength but also the network contexts (i.e., project characteristics). Due to artistic and creative nature of TV drama making, it is hypothesized that weak tie networks among critical human resources would outperform strong tie networks. Empirical results support the hypothesis that weak tie networks indeed outperform strong tie networks in terms of viewing rate of drama.

• Journal of the Economic Geographical Society of Korea
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• v.11 no.3
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• pp.442-458
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• 2008

This paper aims to examine the ways in which project-based organizations (PBOs) are embedded in social networks and geographical clustering in the case of TV drama industry. PBOs refer to a variety of temporary organizational forms for the performance of tasks as to integrate diverse and specialized intellectual resources. PEOs as a flexible and innovative mode of organizing knowledge resources are becoming increasingly worthy of attention in emerging the creative economy. Evidence from interviews with core persons of PEOs like producers, directors, and writers reveals that the key operational mechanism of the project form of organization is based on the highly socialized networks via individual's reputation and past experiences. In other words, the project activity in TV drama is embedded in networks which are socially constructed. Also the geographical clustering plays an important role in PBOs and project practices in TV drama are constructed around a high degree of spatial clustering. PBOs are clustering in Kang-nam and Yeouido, where are located in independent production companies and broadcasting stations. It means that the project formation in TV drama requires geographically-clustered networks of human resources, and socially, culturally and geographically embedded latent networks of interpersonal relationships are a necessary condition of POBs in the TV drama industry.

• (The) Research of the performance art and culture
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• no.42
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• pp.47-75
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• 2021

This thesis looks into the interpretation of the Korean War and mystery genre in Korea in the 1970s by analyzing the special drama , in which the theme was directly related to the Korean War, airing through MBC in 1979. It begins by finding the change in direction in the 1970s when the world of TV was dictated through the heavy censorship and the memory of the war by the government. It also looks at the intentions of the producer who was taking in the new way and the viewers who also accepted this drama and its reflections. In order to gain some insights into these issues, it compares between the drama "The Last Witness" and the original novel by Seong-jong Kim who holds the same time to see the way in which this is dramatized. The drama, "The Last Witness", was produced with a plan to generate a high-quality special drama which combined both artistry and sense of purpose. Nevertheless, as watching TV became a leisurely past-time during this period, TV dramas become more aggressive and suggestive in order to attract viewers. This ultimately was encored with obstacles due to the regime and the heavy censorship at the time. The genre of special drama that is well known in South Korea, is designed as an art form to satisfy both their unique artistry and its purpose. The conflict is seen between the key elements of the artistic drama crated by the producers and the 'encouraged' elements that often are needed to engage the viewers. Thus, more often than not, special dramas defeat the original intention of national harmony, encouraged by the regime. This is due to the 'novelty' aspect which grows from the effort of bringing enjoyment to viewers whilst also trying to achieve the artistic drama to life. Alongside this, crime element in this drama is designed in a way that visually embodies the process of deduction, becoming a new possibility to secure the reality of the times. However, it was also a paradoxical existence since it was indicated as an example of unrefined culture that lost its original intention. In that way, it is worth to think that detective suspense stories, which were not popular in Korea, influenced viewers as a tv drama series in the 1970s through the various elements that compose the genre. They went through a process of transplantation and acceptance whilst also attempting to satisfy the viewers and their encouraged elements to engage them. As is well known, crime drama in Korea has its own style by mixing anticommunism and detective reasoning. This combination is found in the way in which the genre naturally forms through the elements selected and excluded in the dramatization of "The Last Witness". The point is that the special drama "The Last Witness" can be seen as an intermediate form that shows the tendency of transformation from the detective reasoning form alongside the crime aspects as TV dramas began to include anticommunism messaging and investigation in the 1970s. In conclusion, when the detective reasoning is used as an element in a TV drama, it shows the trust of the public system and it constantly seeks the possibility of circumventing the political interpretation. The memories of the war is seen as a tool that neutralizes the dismal imaginations inscribed on the dark side of society and the system. As a result, "The Last Witness", broadcasted at the end of the Yushin regime in Korea, is a strange result which combines the logic of a special drama and the encouraged characteristics of television dramas. The viewers' desire which is the discussion about the hidden traces from the texts needs to be restored again.

• Cartoon and Animation Studies
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• s.44
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• pp.285-306
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• 2016

With the increase use of smartphones, users can consume contents such as webtoon, webnovel and TV drama directly provided by the producers. In this Direct-to-Consumer era, webdrama services from the portal websites are increasing rapidly. Webdramas such as , , and can be analyzed in real time using responses such as unique users, likes, and comments. The analyses used in this research were Social Media Big Data Mining Method and Opinion Mining Method. Specific key words from webdrama can be extracted and viewers positive, neutral or negative emotion can be predicted from the words. The analyses of popular webdramas showed that the established K-Pop Idol member appearance and servicing portal site greatly influence the views, traffics, comments, and likes. Also, 'Mobile TV' proved the effectiveness as another platform other than television. Mobile targeted contents and robust business models still to be developed and identified. Overcoming these few tasks, Korea will be proven to be a webdrama content powerhouse.