종합편성채널 프로그램 장르의 다양성 변화 연구

다국어 초록 (Multilingual Abstract)

In the initial stage of comprehensive programming channels, many researchers foreseen the future of the comprehensive programming channels will be challenging business for broadcasting firms due to expected low number of viewers that might evidently lead to low advertising sales result. However, after eight years, the channels grew exponentially and became competitive in a market with their outstanding contents. In addition, public awareness towards the channels is also increasing every year, contributing to their massive market share.
Followed by their success, their responsibility as public channels is getting higher. To achieve a goal of ‘introducing the channels to contribute to people’s well-being and provide them with more diverse contents’, it is crucial to deeply analyze if the channels are putting peoples’ interests at their utmost priority with optimally scheduled programs of various genres.
While doing research on how diverse the program genres of the channels were in the past, I discovered that majority of research studies were conducted in an early stage of the channels which made it difficult to generalize the results. In addition, the studies focused on the influence of the channels on the overall media diversity including terrestrial channels. With their public awareness and status in a higher position, it is now time to deeply study the phenomenon of these comprehensive channels. In this regard, this study aims to analyze the diversity of program genres of comprehensive programming channels from 2012 to 2018.
The comprehensive programming channels broadcast 24 hours unlike the terrestrial channel that broadcasts 19 hours from 6am to 1am. However, people generally start watching television from 6 am, and the viewer rating is also based on the same time zone as the terrestrial channel broadcasting time, so the time zone is defined as the visible time zone. The base assumption in this study is that the degrees of diversity of total broadcasting time, visible time zone and prime time zone are different. Primary purpose of this study is to determine if diversity is equally realized in all time zones. Three research questions were established to find the answers.


Research Question Ⅰ : How diverse were the genres of all the contents broadcasted by comprehensive channels from 2012 to 2018?

Research Question Ⅱ : How diverse were the genres of the contents in the visible time zone of the comprehensive channels from 2012 to 2018?

Research Question Ⅲ : How diverse were the genres of the contents in the prime time zone in the comprehensive channels from 2012 to 2018?


To find answers to the above research questions, the diversity index called Huffindal-Hirshman Index (HHI), an index used to quantify the concentration of the market, was used to measure the variation of genre diversity by each year and each time zone.
For Research Question No. 1, I found that the diversity index of total broadcasting time was the highest in 2012 which was the year that the channels were first introduced. However, the index dropped sharply in 2013 and 2014 as the specific genres surged due to decreased number of viewers and poor sales result. Since 2015, the trendiness of comprehensive broadcasting channels has been on the rise among people due to successful launch of their regular programs. Such success made them to settle well in the broadcasting market. The channel with the highest diversity index in 2012 was <JTBC>, but in 2018, <Channel A> topped and showed the highest diversity index.
As a result of verifying Research Question No.2, the diversity index's graph shape of the visible time zone is similar to the total broadcasting time but it was decreased as a whole. In particular, the ratio of documentary genres in all four channels is much lower compared to channels’ total broadcasting time, which critically reduces the diversity of genre. The channel with the highest diversity index in 2012 was <JTBC>, but in 2018, the diversity of <Channel A> showed the highest result with a meaningfully large gap to other channels.
For Research Question No.3, the diversity index in the prime-time zone showed severe variation by year, and the degree of diversity was most unstable. This means that the strategic scheduling of channel takes precedence over the value of diversity in the most competitive time. However, for <TV CHOSUN>, the index kept similar figures between 2014 and 2018, so that diversity was most stably realized in the prime-time zone.
Based on the above results, below are the conclusions I have drawn for this study.
First, although diversity index of the comprehensive programming channels falls in the middle, the index can be increased in the future as it gradually turns upward.
Second, it is necessary to establish strategies and principles to cope with internal and external factors that affect overall diversity of program genres.
Third, in order to realize the goal of diversity in genres, clever intervention based on active regulatory policies establishment is necessary and policy diversification to provide people with diverse, fulfilling contents that contributes to their well-being is crucial.
This study is meaningful because it gives us a sense of realization that the contents broadcasted in prime-time zone are not diverse enough and evidently it does not contribute to well-being of the people. However, as a degree of diversity of comprehensive programming channels is gradually increasing, more diversified contents are expected to increase in the future. In addition, with all channels’ efforts and government's policy enhancements, we can expect that comprehensive programming channels will play a key role in creating more diversified contents in the broadcasting market.

목차 (Table of Contents)

• 제1장 서론 1
• 제2장 이론적 배경 6
• 1. 미디어 환경과 종합편성채널의 변화 6
• 1-1. 미디어 환경의 변화 6
• 1-2. 종합편성채널의 성장 8
• 2. 미디어 다양성에 관한 논의 13
• 2-1. 미디어 다양성의 정의 13
• 2-2. 미디어 다양성의 측정 17
• 2-3. 미디어 다양성에 영향을 미치는 요인 19
• 2-3-1. 규제 요인 19
• 2-3-2. 경쟁 요인 22
• 2-3-3. 기타 요인 25
• 2-4. 내용 다양성에 관한 기존 연구 28
• 제3장 연구문제 31
• 제4장 연구방법 35
• 1. 분석대상 및 분석기간 35
• 2. 주요 변인의 측정 37
• 2-1. 분석 유목 37
• 2-1-1. 프로그램 장르 구분 37
• 2-1-2. 시간대 40
• 2-2. 분석 방법 42
• 제5장 연구결과 45
• 1. 전체 방송시간 장르 다양성 변화 45
• 1-1. MBN 45
• 1-2. TV조선 48
• 1-3. JTBC 50
• 1-4. 채널A 53
• 1-5. 종합편성 4개 채널통합 56
• 2. 가시청시간대 장르 다양성 변화 59
• 2-1. MBN 59
• 2-2. TV조선 60
• 2-3. JTBC 62
• 2-4. 채널A 64
• 2-5. 종합편성 4개 채널통합 66
• 3. 주시청시간대 장르 다양성 변화 69
• 3-1. MBN 69
• 3-2. TV조선 71
• 3-3. JTBC 73
• 3-4. 채널A 75
• 3-5. 종합편성 4개 채널통합 78
• 제6장 결론 및 논의 81
• 1. 연구결과 요약 82
• 2. 결론 및 논의 86
• 3. 연구의 한계점 및 제언 88
• 참고문헌 90
• ABSTRACT 97