KOREAN BROADCASTING SYSTEM 2017 Annual Report
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2018-05-Ma-Yang.Pdf
RECONCEPTUALIZATION OF ENGLISH IDEOLOGY IN GLOBALIZING SOUTH KOREA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI’I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES MAY 2018 By Seung Woo Yang Thesis Committee: Young-A Park, Chairperson Cathryn Clayton Patricia Steinhoff Keywords: Korean, English, Globalization, English Ideology, National Competitiveness i ii ACKNOWLEDGEMENTS There are many individuals and organizations I would like to thank for this academic and personal undertaking. The Center for Korean Studies was a big reason why I chose UH Manoa. I owe a great appreciation to the Center for Korean Studies for the remarkable events as well as the opportunity to serve as a graduate assistant. Not only the position provided financial assistance, but I am truly greatful for the learning opportunities it presented. I am also thankful for the opportunity to present this thesis at the Center for Korean Studies. Thank you Director Sang-Hyup Lee, Professor Tae-ung Baik, Mercy, and Kortne for welcoming me into the Center. Thank you, the East-West Center, particularly Dr. Ned Shultz and Kanika Mak-Lavy, for not only the generous funding, but for providing an outside-the-classroom learning that truly enhanced my graduate studies experience. The East-West Center provided the wonderful community and a group of friends where I can proudly say I belong. Thank you Mila and Fidzah. I jokingly believe that I did not finish my thesis on time because of you guys. But I credit you guys for teaching me and redefining the value of trust, generosity, and friendship. -
Design Politics: Consumerization of Post-Industrial South Korea Hyun-Joung (Ryan) Lee, University of Michigan-Ann Arbor (2013)
design politics: consumerization of post-industrial south korea hyun-joung (ryan) lee, university of michigan-ann arbor (2013) ABSTRACT In recent years, design has become a main theme in administration of Seoul, the capi- tal of South Korea. Under this theme of design, many projects have taken place, in- cluding a number of public constructions. While the purpose behind supporting “de- sign” as the symbol of Korea is to promote a new national image of post-developed nation, some of the Seoul government’s design projects yielded unintended side ef- fects. Tis paper analyzes the discrepancy between the professed rationale of these projects and the actual consequences through the case of Gwanghwamun and Dong- daemun, and suggests a possible direction for the future of design in Korean politics. DESIGN AND THE CITY OF SEOUL as the WDC of 2010. As part of the WDC launch, the n 2005, the International Council of Societies of city sponsored international events and created insti- Industrial Design (ICSID) announced an initiative tutions that could help implement various design-re- called World Design Capital (WDC) at a conven- lated projects in the capital. Te city’s active sponsor- Ition held in Copenhagen. According to the initiative’s ship of design-related events and institutions would architects, WDC was to be an opportunity for cities eventually pay further dividends, and Seoul was des- to present their innovative design accomplishments ignated the 2010 “City of Design” under the UNESCO and celebrate their successes in urban revitalization, Creative Cities Network, supplementing its earlier se- with a focus on the broader impact of design on ur- lection as WDC 2010.3 ban spaces, economies, and citizens. -
The 2Nd International Film Festival & Awards • Macao Unveils Festival
The 2nd International Film Festival & Awards • Macao unveils festival programme, announces Laurent Cantet as head of jury Macao, 3 November, 2017 The 2nd International Film Festival & Awards • Macao (IFFAM) today announced its programme at a press conference in Macao. The Hong Kong/Macao premiere of Paul King’s Paddington 2 will open the IFFAM on Friday 8 December with the festival running until Thursday 14. The programme includes 10 competition films including the Asian premieres of Venice Film Festival prize winners Foxtrot by Samuel Maoz, and Custody, by Xavier Legrand, as well as Toronto Film Festival breakout Beast, by Michael Pearce and the London Film Festival hit Wrath of Silence, directed by Xin Yukun. For its second edition the IFFAM has exclusively dedicated the feature film competition to films by first and second time film makers with a $60,000 USD prize being awarded to the best feature. The prestigious competition jury comprises of: Laurent Cantet – Director (Jury President) Jessica Hausner - Director Lawrence Osborne - Novelist Joan Chen – Actress / Director Royston Tan – Director Representing the latest style of genre cinema to Asian audiences, highlights from the Flying Daggers strand features Cannes Film Festival smash A Prayer Before Dawn by Jean-Stéphane Sauvaire and Brian Taylor’s Toronto sensation Mom and Dad. The Asian premiere of Saul Dibb’s Journey’s End is screening as an Out-Of-Competition gala alongside Bong Joon-ho’s Okja, showing on the big screen for the first time in the region, and Pen-ek Ratanaruang’s latest movie Samui Song which will be screened with director and cast in attendance. -
Stability and Possible Change in the Japanese Broadcast Market: a Comparative Institutional Analysis
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Nishioka, Yoko Conference Paper Stability and Possible Change in the Japanese Broadcast Market: A Comparative Institutional Analysis 14th Asia-Pacific Regional Conference of the International Telecommunications Society (ITS): "Mapping ICT into Transformation for the Next Information Society", Kyoto, Japan, 24th-27th June, 2017 Provided in Cooperation with: International Telecommunications Society (ITS) Suggested Citation: Nishioka, Yoko (2017) : Stability and Possible Change in the Japanese Broadcast Market: A Comparative Institutional Analysis, 14th Asia-Pacific Regional Conference of the International Telecommunications Society (ITS): "Mapping ICT into Transformation for the Next Information Society", Kyoto, Japan, 24th-27th June, 2017, International Telecommunications Society (ITS), Calgary This Version is available at: http://hdl.handle.net/10419/168526 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. -
Corporate Hierarchies, Genres of Management, and Shifting Control in South Korea’S Corporate World
Ranks & Files: Corporate Hierarchies, Genres of Management, and Shifting Control in South Korea’s Corporate World by Michael Morgan Prentice A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) in The University of Michigan 2017 Doctoral Committee: Associate Professor Matthew Hull, Chair Associate Professor Juhn Young Ahn Professor Gerald F. Davis Associate Professor Michael Paul Lempert Professor Barbra A. Meek Professor Erik A. Mueggler Michael Morgan Prentice [email protected] ORCID: 0000-0003-2981-7850 © Michael Morgan Prentice 2017 Acknowledgments A doctoral program is inexorably linked to the document – this one – that summarizes the education, research, and development of a student and their ideas over the course of many years. The single authorship of such documents is often an aftereffect only once a text is completed. Indeed, while I have written all the words on these pages and am responsible for them, the influences behind the words extend to many people and places over the course of many years whose myriad contributions must be mentioned. This dissertation project has been generously funded at various stages. Prefield work research and coursework were funded through summer and academic year FLAS Grants from the University of Michigan, a Korea Foundation pre-doctoral fellowship, and a SeAH-Haiam Arts & Sciences summer fellowship. Research in South Korea was aided by a Korea Foundation Language Grant, a Fulbright-IIE Research grant, a Wenner-Gren Dissertation Fieldwork Grant, and a Rackham Centennial Award. The dissertation writing stage was supported by the Rackham Humanities fellowship, a Social Sciences Research Council Korean Studies Dissertation Workshop, and the Core University Program for Korean Studies through the Ministry of Education of the Republic of Korea and Korean Studies Promotion Service of the Academy of Korean Studies (AKS-2016-OLU-2240001). -
Annual Results Announcement for the Year Ended 31 December 2019
Hong Kong Exchanges and Clearing Limited and The Stock Exchange of Hong Kong Limited take no responsibility for the contents of this announcement, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this announcement. 華 誼 騰 訊 娛 樂 有 限 公 司 Huayi Tencent Entertainment Company Limited (Incorporated in the Cayman Islands with limited liability) (Stock Code: 419) ANNUAL RESULTS ANNOUNCEMENT FOR THE YEAR ENDED 31 DECEMBER 2019 HIGHLIGHTS 2019 2018 HK$’000 HK$’000 Continuing operations: Total revenue 99,326 109,168 Gross profit 39,011 38,214 Loss before net finance costs and taxation (27,384) (66,314) Loss for the year from continuing operations (28,770) (66,455) Profit for the year from discontinued operation — 140,763 (Loss)/profit for the year (28,770) 74,308 . Loss for the year from continuing operations narrowed down by 57% to approximately HK$28,770,000 (2018: HK$66,455,000), due to the significant decrease in provision for impairment and net exchange losses, together with the strong financial performance of HB Entertainment Co., Ltd. (‘‘HB Entertainment’’), a 31%-owned associate of the Group, during the year. ‘‘Beautiful Love, Wonderful Life’’, a production of HB Entertainment, topped the national viewership ranking for seven consecutive weeks between November and December 2019, recording the highest national viewership at 28.3% in 2019. The final episode aired in March 2020 reached the highest national viewership at 31.5%, and is deservingly hailed as one of the most popular Korean television dramas in 2019. -
Television in Singapore: a Brief Introduction to Its Television Industry
-Journal of Arts, Science & Commerce ■E-ISSN2229-4686■ISSN2231-4172 TELEVISION IN SINGAPORE: A BRIEF INTRODUCTION TO ITS TELEVISION INDUSTRY Aaron Rao, Lecturer, School of IT, Digital Media & Mass Communication, TMC Academy, Singapore. ABSTRACT TV arrived in Singapore on 15 February 1963 and since its inaugural launch Singapore’s TV industry has undoubtedly developed over the years. In the context of the four theories of the press, it can be quickly concluded that Singapore’s TV industry is Authoritarian by its regulative nature. Despite being a democratic country, the freedom to express freely what is on one’s mind through the use of TV as a medium is still extremely restrictive. As a result, there are many reasons as to why Singapore’s TV industry is still moderately unadventurous, especially where censorship is concerned. As the TV industry in Singapore is operated and fully controlled by the government, the content that appears on TV is usually highly censored, scripted to precision in accordance with the MDA guidelines, non-offensive and contain the usage of propaganda. This paper seeks to give a brief insight into not only the history and transformation of Singapore’s television (TV) industry to what it is today, but also to better understand how the said country’s TV industry currently operates, and how their content is produced as well as the impacts it has around the region. Keywords: Singapore, Television, Ownership, Censorship, Regulation. International Refereed Research Journal ■www.researchersworld.com■Vol.–V, Issue – 3, July 2014 [56] -Journal of Arts, Science & Commerce ■E-ISSN2229-4686■ISSN2231-4172 INTRODUCTION: In the context of the four theories of the press, it can be quickly concluded that Singapore’s TV industry is Authoritarian by its regulative nature. -
Television and Sound Broadcasting Regulations, 1996
BROADFASTING AND RADIO Ri-DIFFIlSfON THE BROADCASTING AND RADIO RE-DIFFUSION ACT &GULATIONs (under section 23 ( f 1) THETELEVISION AND SOUNDBRO~ASTMG REGULATIONS, 1996 (Made by the Broadcasrinl: Commi.~.~ionon ihe 14th day LF:WIT ~IM 0f Miq: 1'996) LN 25iW 91,W Preliminary 1. These Regulations may be cited as the Television and Sound Broad- cn~non casting Regulations, 1996. 2. In these Regulations- rnl- "adult programmes" means programmes which depict or display sexual organs or conduct in ar! explicit and offensive manner; "authorized person" means a person authorized by the Commission to perform duties pursuant to these Regulations; "'broadcasting station" means any premises from which broadcast programmes originate; "licensee" means a person who is licensed under the Act; "zone" means a zone established pursuant to regulation 27. Licences 3.-+ 1) Evqpem who is desirous of- m~ktiar or t~cnne (a) engaging in commercial broadcasting, non-commercial broad- carting or offering subscriber television senice shall make an application to the Commission on zhe appropriate application Flm fam set out in the First Schedule; Mdda THE TELEVISlON AND SOl/ND BROADCAflI~3'G REGC;IlL/1TlO,VS, 1996 (b) establishing, maintaining or operating a radio redifision system shall make application to the Commission in such form as the Commission may determine. (2) Every application shall be accompanied by a non-refundable fee af one hundred and ten thousand dollars. (3) The Commission may, on receipt of an application, require the applicant to furnish the Commission -
ECC Report 188
ECC Report 188 Future Harmonised Use of 1452-1492 MHz in CEPT approved February 2013 ECC REPORT 188 - Page 2 0 EXECUTIVE SUMMARY The 1452-1492 MHz band has remained unused in most European countries for the past decade. Since 2002, the 1452-1479.5 MHz sub-band has been harmonised for Terrestrial Digital Audio Broadcasting systems (T-DAB) through the Maastricht, 2002 Special Arrangement. The arrangement was later revised in Constanţa, in 2007 [1]. Since 2003, the 1479.5-1492 MHz sub-band has been harmonised for Satellite Digital Audio Broadcasting (S-DAB) through the ECC/ DEC/(03)02 [2]. The 1452-1492 MHz is indifferently referenced to, in Europe, as the L-band, 1.4 GHz or 1.5 GHz. Late 2010, CEPT decided to undertake a review of the use of the L-band with the aim to change the current situation and enable the use of those 40 MHz of prime spectrum for new services and applications that could bring substantial social and economic benefits for Europe. In December 2010, the ECC launched a questionnaire to CEPT administrations and industry in order to identify the current and potential candidate applications. In May 2011, the ECC established a Project Team to determine, based on an impact analysis, the most appropriate future use(s) of the 1452-1492 MHz band in CEPT. In order to conduct the impact analysis, a number of criteria have been defined, namely 1) compatibility with the current regulatory framework, 2) possibility to share with other applications/uses, 3) extent (maximisation) of social and economic benefits, 4) timeframe for availability of equipment on a large scale and for application deployment - status of standardisation and 5) Potential for economy of scale (need and potential for harmonisation within and outside CEPT). -
Chris Graves
Christopher Graves President & Founder Ogilvy Center for Behavioral Science Christopher Graves was named founding President of the Ogilvy Center for Behavioral Science in 2017 after serving 12 years as Global Chairman, Global CEO, and Regional (APAC) CEO for Ogilvy Public Relations. He also served as a member of the Ogilvy & Mather Worldwide Board and Executive Committee. Graves joined Ogilvy after two decades in media and news, including 18 years with Dow Jones & The Wall Street Journal. He also headed all news & programming for the TV networks CNBC Asia and CNBC Europe. Christopher was awarded a prestigious Rockefeller Foundation Bellagio Residency in 2016 for his work in behavioral science in communications. He was elected life member to the Council on Foreign Relations in 2010, the most influential foreign policy think tank in the US. Graves served two terms as chairman of the industry association, PR Council, and as a trustee of the Institute for Public Relations where he co-founded their behavioral insights initiative. Christopher is an active and highly-rated public speaker. He appears as a guest expert on television news, and as a guest anchor on CNBC. He has chaired sessions with world leaders and CEOs at the World Economic Forum (Davos and Summer Davos in China) for more than a decade. He has also been a speaker at the United Nations, SXSW, The Clinton Global Initiative, the World Islamic Economic Forum, and has keynoted hundreds of summits and corporate meetings. Leading two completely sold out sessions at SXSW Awards include: a Rockefeller Foundation Bellagio Residency; ESOMAR World Congress top prize; Marketing Research Society Grand Prix; four WPP Atticus Awards including the Grand Prix (for thought leadership); ICCO Hall of Fame; Campaign Asia Hall of Fame; Top 25 Innovator (Holmes Report); Agency of the Year, Asia Pacific PR Professional of the Year, Asia Pacific Consultancy of the Year; a news EMMY nomination and more than a dozen awards from The New York Film and Television Festivals and the Asian Television Awards. -
Chapter 2. Analysis of Korean TV Dramas
저작자표시-비영리-변경금지 2.0 대한민국 이용자는 아래의 조건을 따르는 경우에 한하여 자유롭게 l 이 저작물을 복제, 배포, 전송, 전시, 공연 및 방송할 수 있습니다. 다음과 같은 조건을 따라야 합니다: 저작자표시. 귀하는 원저작자를 표시하여야 합니다. 비영리. 귀하는 이 저작물을 영리 목적으로 이용할 수 없습니다. 변경금지. 귀하는 이 저작물을 개작, 변형 또는 가공할 수 없습니다. l 귀하는, 이 저작물의 재이용이나 배포의 경우, 이 저작물에 적용된 이용허락조건 을 명확하게 나타내어야 합니다. l 저작권자로부터 별도의 허가를 받으면 이러한 조건들은 적용되지 않습니다. 저작권법에 따른 이용자의 권리는 위의 내용에 의하여 영향을 받지 않습니다. 이것은 이용허락규약(Legal Code)을 이해하기 쉽게 요약한 것입니다. Disclaimer Master’s Thesis of International Studies The Comparison of Television Drama’s Production and Broadcast between Korea and China 중한 드라마의 제작 과 방송 비교 August 2019 Graduate School of International Studies Seoul National University Area Studies Sheng Tingyin The Comparison of Television Drama’s Production and Broadcast between Korea and China Professor Jeong Jong-Ho Submitting a master’s thesis of International Studies August 2019 Graduate School of International Studies Seoul National University International Area Studies Sheng Tingyin Confirming the master’s thesis written by Sheng Tingyin August 2019 Chair 박 태 균 (Seal) Vice Chair 한 영 혜 (Seal) Examiner 정 종 호 (Seal) Abstract Korean TV dramas, as important parts of the Korean Wave (Hallyu), are famous all over the world. China produces most TV dramas in the world. Both countries’ TV drama industries have their own advantages. In order to provide meaningful recommendations for drama production companies and TV stations, this paper analyzes, determines, and compares the characteristics of Korean and Chinese TV drama production and broadcasting. -
DRAMA ENTERTAINMENT DOCUMENTARY ANIMATION About KBS Media
KBS DRAMA ENTERTAINMENT DOCUMENTARY ANIMATION About KBS Media Korea’s First, Korea’s Biggest. This is the history of Content Distribution written by KBS Media striving forward Founded in 1991, the company has been leading the Content Distribution, reaching the highest sales record in Korea through domestic and international distribution of TV rights and VOD rights. KBS Media sets the stage for K-Wave by exporting the TV series <Winter Sonata> to Japan in 2003 for the first time. Also, it has worked as a key player in the globalization of K-Content with the sales of TV format <Good doctor> to America in 2017, whose remake version is making a huge success in America. KBS Media, at the center of Korean Wave Expanding its boundary in Global Content Market, the company has been distributing K-Content over 80 countries, including Europe, Middle East, America and Africa. It has also widened the spectrum of K-Content by actively investing in the business of international events, exhibitions, K-pop Performances, New media Content and the field of Media Commerce. Creating the Content-Centered Value in the age of 'Digital First' KBS Media's merger with KBS Internet in 2011 has enabled our company to prepare the 'age of Digital First' with the adoption of New Media Platform. Upon the convergence of On/Offline service, KBS Media will consolidate its dominating position as a leading figure in the business of distribution, production and new media based on content. DRAMA MINI·WEEKEND·DAILY MINI Sell Your Haunted House 대박부동산 テバク不動産 / 大发不动产 HD 16 eps x 70 mins Production Year 2021 Director _ Park Jin-seok Writer _ Ha Soo-jin Jia is a real estate agent-exorcist, with a perfect look, brilliant brain, and her own psychic ability but also with her hot temper.