• Cartoon and Animation Studies
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• s.39
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• pp.27-58
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• 2015

The crisis in profit and funding for animation is in evidence around the world. The change in media environment has forced broadcasting advertising revenue down and animation viewers spread out. Now, animation players in the strongest position are either the US major studios, or producers benefiting from domestic support schemes. Government support is available in many countries because many governments believe that support for domestic animation carries both economic and cultural benefits. This paper is designed to suggest new policy schemes for Korean animation industry. The new paradigm of animation policy needs a new perspective on content industry as a whole, not centered on the animation itself. The researchers on public policy for culture, audiovisual and content industry argued that the government should, (i) play the role of facilitator for virtuous cycle of industry value chain, (ii) provide fiscal support through automatic and selective schemes, (iii) provide tax benefit to strengthen the competitiveness of industry, and (iv) enforce the broadcasters to contribute to domestic programming and financing. Comparative analysis on French and Canadian audiovisual policy supports such arguments, and animation industry of two countries are enjoying the high audience ratings and sustainable production volume. From the analysis, this paper suggests the new government schemes for Korean animation industry, which are, (i) securing the public funding for fiscal support, (ii) introduction of automatic production support, (iii) modification of broadcasting quota, (iv) broadcaster's performance envelope and production quota, and (v) tax benefit as indirect support.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.81-89
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• 2018

The purpose of this study is to classify the types of internet personal game broadcasting in China and to examine viewers' preferences type of it. By targeting top 100 creators of Player-Unknown's Battleground streaming as a personal game broadcaster with over 100,000 followers, the game types were classified based on the purpose and characteristic of game broadcasting such as game play, entertainment, and audience participation. As a result, the type of internet personal game broadcasting in China was classified into progamer type, cooperative playing type, storytelling type, and reciprocal entertainment type. The progamer type was 38% and it was the highest proportion of Player-Unknown's Battlegrounds streaming. Next came storytelling type, cooperative playing type and reciprocal entertainment type with 25%, 19% and 18% respectively. In sum, progamer type and storytelling type which shows relatively low real - time communication with audiences accounted for a high percentage of 63%. This implies that the characteristics of the broadcast media focused on 'showing' have influenced the production and planning of personal game broad casting. The interactive characteristics of the platform of personal game broad casting can be expected to gradually change the conventional customs of broadcasting media.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.399-411
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• 2019

TV Broadcasting is an undeniable cultural medium. TV Broadcasting Station needs a long-term perspective that suits cultural media and an aggressive cultural and artistic program development strategy that matches rapidly changing culture and technology. Of course, production staff should be composed of experts in the field as well as cultural artists. This paper is researching the promotion strategy of TV Arts programs by substituting the three keywords - the U.S., the public broadcasting station(TV) and Arts programs. And through case studies and analyses of PBS TV's "Art in the 21st Century" series, the way the public TV broadcasting station shares cultural arts with viewers is extracted. It raises the question of how the U.S. TV public broadcaster's cultural and artistic programs are different from South KOREA's. Through the above research, let's find a clue to the future direction of how the new media, now represented as Korea's blacklist, should recognize, foster, educate and strategize Fine Arts.

• Journal of Digital Convergence
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• v.17 no.5
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• pp.333-346
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• 2019

The purpose of this study is to find out the direction of overseas expansion strategy that should be established as a public broadcaster and a media company in order to overseas expand Korea EBS's. This study used a literature research method to analyze the related literature and data for analyzing strategies of major global media companies and overseas public service broadcasters (PSBs). As a result of the research, it suggests that the direction of EBS overseas expansion should approach both commercial business diversification and fulfillment of public responsibility. In particular, it suggests that transferring project of Korea's educational broadcasting system to developing country should be developed as a core business for spreading overseas expansion. In a follow-up study, it is necessary to carry out a research that suggests a comprehensive strategy of overseas expansion of EBS based on the result of this study.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.211-227
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• 2020

This study intends to analyze the storytelling strategy of EBS's YouTube channel , which has been creating a remarkable cultural phenomenon since April 2019, and to examine the potential for its transition to transmedia franchise. Based on Henry Jenkins'seven principles of transmedia storytelling, shows satisfactory relevance in all but 'multiplicity'out of the 10 capacities consisting of the principles. In particular, was found excellent in terms of core capacities such as 'spreadability', 'immersion', 'worldbuilding', 'continuity', 'drillability' and 'performance'. In addition, critical discourse analysis(CDA) in sociocultural practice dimension of the keywords of the related news articles has discovered that is strongly linked to the following five values: 'social integration', 'resistance against authoritarianism', 'self-dignity and reasonable individualism', 'gender neutrality' and 'ecologism', indicating the reason why the work has been able to resonate so extraordinarily with participants across all generations. By answering the two chosen research questions, this study has proved that has high potential to be successful in evolving into transmedia franchise, while keeping building a new realm of edutainment storytelling by cleverly exploiting EBS's unique identity as a public education broadcaster. is viewed as an exceptional property capable of advancing transmedia storytelling in the local market; thus, productive arguments and contemplation over its evolution in storytelling needs to continue so that it can maintain a long-lasting positive influence.

• Trans-
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• v.1
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• pp.21-44
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• 2016

Advertisement is composed with symbol and sign with messages trying to express. Especially, ad with dancer introduces goods or meaning of contents with the motion of dance. In this, contents of dance or motion of dancer contains symbol and sign, understanding how ad and dance are expressed meanings with which symbol and the symbolic meaning of dance or dancer on ad. To that end, this study is for analyzing expressed symbol with dance corresponds with the aim of ad and finding the way or attitude of how normal people accept dance by reevaluating symbolic meaning of dance itself. In this study, advertisement producer and director's related data is secured for understanding direction and intention of producer, and previous study related with the study purpose, image, and effect are analyzed for understanding image of dance as a physical sign on TV advertisement. With data from www.TVCF.co.kr. TV advertisement analysis is conducted only with four ads in 2008(Nam Kwang Eng. & Const Co., Lotte Dept. Store(premium sale/gift card), Hyundai Motor Company Santa Fe -Pilobolus) and one ad in 2011(PNS The zone Sash Italy Arena di Verona when dance was used for advertisement with the highest frequency per year. Also, based on considered important factors from repeatedly watching each advertisement, scenes where movement or motion of dancer and screen word is greatly changed are analyzed as a priority. Image analysis of dance is conducted with structure studies based on physical image(line, costume, expression) and dan image(type motion, qualitative feature, mood of dance). As a result, the symbolic dance image appeared in TV advertisement can be discussed as follows. First, symbol and sign of dance on advertisement corresponds with material objects of advertisement. For instance, on the TV advertisement where Lee Youngwoo appeared, his motion as a signifer means challenge for the future of Nam Kwang Eng. & Const Co., with fast turn, jump, assemble turning jump, and sliding. Second, physical image of dancer depending on intention of sender corresponds in general, but there are somewhat differences in image of dance. This makes people to unconsciously recognize symbolic image of dance on TV ad while they watch it at the same time. Especially, when it comes to advertisement, it exposes frequently with broadcasting of organized programs from a broadcaster, living long-time memory. It can be differ based on idea and character of each of receiver. Advertisement is a medium making people naturally adopt cultural art for ordinary people in their lives. Broadcasting public art from TV advertisement widely exposes pure art to people, which was only avaliable for minority, sublimating it as an art of public culture.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.107-142
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• 2021

Emergence of new media platform had changed relationship between the broadcaster and the viewer, which used to form 'performer-audience' structure. This research has focused on the transition of 'streamer-viewer' role in single-media broadcasting, such as Youtube or Twitch, and identify how they progress group storytelling as a team. Walter Benjam and Leslie Marmon Silko's notion of 'story and storyteller' and Erving Goffman's 'social role theory' was used to define participants' role in new media broadcasting. channel, on Youtube, was selected and analyzed as example case. The domain of 'front stage' was broadened in recorded contents comparing to live streaming. The audience of live streaming is included to the front stage during the expansion. The role of streamer, game participant, and live stream contents viewer is also adjusted during the change, which leads to group-creation of the contents. Streamer plays a role of main-storyteller and suggest identity of the community. Game participants work as sub-storyteller, filling in the blank space in game storytelling and making it sophisticated. They also perform based on community's identity, which streamer has built in advance. Lastly, live steam viewers are intermittent sub-storyteller, which seldom add up the narrative. Though, their main role is to preserve identity of game broadcasting community by reacting according to community's identity. As a result, the game broadcasting narrative is developed by combining and adding up pieces of story made in different level and role of participants. The research redefine the role of viewer and storytelling method in new media, especially in single-person broadcasting. Considering the rapid shift in recent media and contents, a new approach to the streamer-veiwer role and group storytelling of this research can be one of the new method to analyze contents produced in new media, such as Youtube.