Constructing and De-constructing Myths of‘Culture Program’ : A Media Socio-cultural Historical Approach to Production Processes of KBS Culture Programs This , which starts from the proposition that ‘KBS culture program is a myth’, expl... Constructing and De-constructing Myths of‘Culture Program’ : A Media Socio-cultural Historical Approach to Production Processes of KBS Culture Programs This , which starts from the proposition that ‘KBS culture program is a myth’, explores the interactions between KBS culture & information department as a structure of producing KBS ‘culture programs’ and ‘culture PDs’ who are the producers of ‘culture programs’, from the late 1970s to the present. The purpose of this study is to investigate the reason why the culture program is a myth, how it has become a myth, and why the myth is being dismantled, using the media socio-cultural historical approach based on a study on the producers of television programs. In particular, this thesis is grounded on the research results of the researcher’s self- ethnology and participatory observation, which have both biographical data and various documentary data of former and current KBS culture PDs with different generations. The transition of the production structure called ‘KBS culture & information department’ as a place that has been making culture programs in earnest in the Korean TV history, and as the historical and social space, which has interacted with the culture PDs, has implications beyond an organizational reorganization. The production organization of KBS has changed constantly according to the direction of the policy line drawn by the incumbent KBS president. The changes reflect the socio-cultural and political demands or other influential factors of those days. Therefore, KBS culture & information department is a magnetic field of internal action and reaction against the demands of the times surrounding KBS, and on the same line with its transition, the culture program myth also changes. Specifically, while the production organizations of the entertainment programs or dramas have been maintained without any major change since 1978, the production organizations of the culture programs have had various names such as ‘culture & information department’, ‘TV 1 department’, and ‘culture & education team’. And the identity is undoubtedly undergoing a paradigm shift in the production process. In this inconsistent process, the identity confusion within the organization of production has not only affected the culture PDs but also directly or indirectly influenced ‘culture programs’ that they produce. This is a cyclical change through the interaction between ‘KBS culture & information department’, the culture PDs, and the culture programs, which I am paying attention to. In this process, the definitions of ‘culture program’, the categories it can cover, and the limitations that can not be covered are constantly changing. The ambiguity or inconsistency of the definition of ‘culture program’ is difficult to separate from the context of the change mentioned above. What is noteworthy is that the culture PDs are somewhat contradictorily clear about the values that the culture program should aim for or necessarily contain while they do not have clear definition of the culture program. Although the definition of ‘culture program’ is unclear and ambiguous, the rationale for the three elements of ‘meaning’, ‘information’, and ‘touched-ness’ embedded in the culture program shows that KBS ‘culture program’ becomes a myth. The myth of KBS ‘culture program’ is fully formed during the growth period and the competition period from the 1970s to the 1990s. It coincides with the golden age of terrestrial television in Korea. In other words, it is based on the period when the ‘scarcity of radio waves’ was still valid. In this context, the myth of public broadcaster KBS ‘culture program’ is reproduced in various culture programs through three elements of ‘meaning’, ‘information’, and ‘touched-ness’. Especially, in the process of incarnation of nation-state, nationals and public broadcasters, those elements act as core constructs of culture programs of KBS. The process of KBS culture program’s shaping the ‘nation’ is done through a large-scale special ‘culture program’ such as nation-wide search campaigns for dispersed family members. In the culture program, ‘nation’ is a delicately designed ‘nation-state for the people’, a country that worries and relieves the well-being of the people. However, it is a special culture program that raises funds and relieves the people on behalf of the nation-state. In this context, the culture programs interpellate ‘people’. Here, the ‘national’ is shaped as the ‘ideal Korean’ identity, so it is recommended that viewers join in the ideal of becoming such a ‘Korean’. Historical reinterpretation programs that enhance the self-esteem of Koreans and the culture programs that deal with Korean people who boosts national prestige have represented a ideal Korean and have encouraged viewers to become such an ideal Korean. For example, <Who is going to save this child, Sungdeok Baumann?>, a special culture program in 1996 defined a young man who was adopted and became a US citizen, as ‘our child’ and collected Koreans to donate their bone marrow to him. The influences of culture programs which have represented patriotic people and ‘nationalized nation’ were powerful enough that thousands of viewers were waiting in line to volunteer to donate their marrows for Sungdeok Baumann. The ‘touched-ness’ is the important factor of social influence of culture programs, by which not only those who watch the programs but also those who produce them are deeply affected. Even sometimes it becomes a burden enough to be a compulsion for the producers of culture programs. In the monopolistic influence of terrestrial public broadcasting television, the influence of KBS 'culture program' has been strengthened, but in the 2000s, the myth is gradually dismantled. The first symptom begins with harsh competition between culture programs and entertainment programs in multi-channel media terrains. The culturalization of entertainment programs that has been expanded beyond genre specification has shown that the ‘meaning’, which is considered to be the exclusive domain of the existing ‘culture programs’, can be stronger when the ‘meaning’ mingles with fun factors. In addition, as programs dealing with current affairs are separated from culture program sector, culture programs break down the function of social agenda setting and become narrower as a mild lifestyle program. In the case of special culture programs, which once united the people separated by politics and ideals, they gradually become a political tool without bringing up the social problems. To make matters worse, in the infinite competition paradigm of this media market, culture programs that do not earn money are gradually pushed out of their priorities in budget and resource allocation, and this again becomes a vicious circle as they are linked to the low quality of production results. The decisive factor in this process is an increasing influence of entertainers on current media terrain. As channels get more and more innumerable and as entertainment programs become the mainstream of the media market, the demand for entertainers to be shown on TV naturally increases. As a result, a conspicuous change in the era in which entertainers play a major role on TV makes the culture PDs who have not gotten used to entertainers in making their culture programs before be constricted. The KBS ‘culture program’ myth has been also dismantled and is still in progress as of 2016, following the process of dissolving the three factors - ‘meaning’, ‘information’, and ‘touched-ness’ in culture programs. On the other hand, there has also been signifying practices of the culture PDs, who have been defending culture programs against the sudden change of the internal and external environment surrounding Public Service Broadcasting (PSB) culture programs for the past decade. This is a struggling process of more active and desperate ‘culture PDs’. Beginning with the redefinition and reconfiguration of the culture programs, the changed practices of the culture PDs are continuing at this moment. ，免费韩语论文，韩语论文 |
