• The Journal of the Korea Contents Association
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• v.9 no.4
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• pp.172-180
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• 2009

This study considers some changes in the program production by the local broadcasting stations through the analysis of their programs. Currently, one of the biggest changes in the local broadcasting systems is that they focus on the self-produced contents about the community and expand the joint-production. In the case of KBS Daejeon, they try to activate various joint-produced programs together with the local broadcasting stations in Yeongnam province. MBC Daejeon has also strengthened the joint-production systems since 2002 by classifying MBC's 19 subsidiary stations around the country into 5 groups in order to strengthen the competitiveness. As for TJB, they work in the cooperation with other commercial broadcasting stations in other cities, including Busan, Kwangju, Jeonju, Ulsan, Daegu by sharing the programs which they produced. In conclusion, the local broadcasting systems should depart from the function as a mediating center of the central broadcasting network and strengthen the ability of producing programs in order to be able to function as a source of producing programs. Thus, local broadcasting stations should expand the joint production of the programs about the communities and the ratio of the organization of the self-produced programs.

• Proceedings of the Korean Vacuum Society Conference
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• 2010.02a
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• pp.391-391
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• 2010

초전도 가속공동기의 소재는 순수 Nb로 제작하는 것이 일반적이다. 그러나 극저온 (2-4.5K)에서 열전도도가 낮아서 순간적인 Normal zone이 발생되면 이를 원활이 냉각되지 못하여 Quench로 발생 가능성이 높다. 초전도 가속공동기는 약 3 mm 두께의 Nb 판을 이용하는데, 500 MHz 공동기의 전자기장의 침투깊이가 불과 수 nm에 불과해서 나머지 부분은 사실상 불필요한 부분이다. 따라서 이 경우 매우 비싼 초전도 공동기 소재의 낭비가 매우 심하다. 또 Nb 판으로 공동기를 제작할 경우 매우 비싸고 시간이 많이 소요되는 전자빔용접을 해야 하고 또 제작 후 표면처리가 매우 번거롭고 장시간을 요한다. 이러한 단점을 보완하기 위해서 구리판으로 성형가공법을 이용하여 공동기를 제작하고, 내부의 RF 표면에 수 ${\mu}m$ 두께의 Nb 코팅을 한 공동기를 개발하여 CERN의 LEP에 설치하여 실용화하였다. 이렇게 하여 소재비용을 포함한 초전도 공동기 제작, 표면처리 비용 절감은 만족할 만한 결과를 얻었다. 구리의 높은 열전도에 의한 고 가속전기장의 기대와 달리 가속전기장이 최고 약 7 MV/m 정도로 제한되었다. 그후 꾸준히 연구개발을 진행하여 현재 약 22 MV/m 까지 기록하고 있으나, 순수 Nb 공동기의 약 50 MV/m에 비하면 현저히 낮은 수준이다. 본 연구는 Nb 코팅법을 이용하여 Nb 코팅 초전도 공동기의 한계를 넓히기 위한 것이다. 본 발표는 "Sputtering 법에 의한 초전도 Nb coating 소재의 RF 한계 극복 연구"의 기초연구 결과를 보고하고자 한다.

• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.136-145
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• 2010

China shows an evident growth in its visual culture in recent years, fueled by its accumulated wealth and the influx of relatively advanced visual culture from Hong Kong. There have been recent attempts to further the economic ties with Taiwan to form a pan-Chinese film market. Considering most Chinese blockbusters are produced by film makers in Hong Kong, it is safe to claim that Chinese films are the extension of Cantonese films. This text examines the past makings of Korean-Cantonese films and their influence. Based on the findings, it explores the necessary efforts on a civil level and the governmental support, required for Korea to make its way into the pan-Chinese film market as an equal participant. Such foundation would protect Korean film market in the midst of fast-changing media scape and serve as a stepping stone for Korea's advance into the pan-Chinese visual market.

• Digital Contents
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• no.12 s.127
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• pp.22-24
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• 2003

좀처럼 침체의 늪을 벗어나지 못하고 있는 국내 애니메이션 업계에 지난 10월 반가운 소식이 전해졌다. 우리나라 삼지애니메이션이 기획한 3D 애니메이션‘ODD Family’의 국제 공동제작 발표회가 프랑스 칸에서 성공적으로 개최됐다는 것이다. 삼지애니메이션과 프랑스의 티문애니메이션이 공동 개최한 이번 제작 발표회에는 TF1, ZDF 등 유럽 방송사, 미국 배급사 MGM, 한국 공중파 3사 등이 참여해TV용 3D 시트콤 ODD Family에 큰 관심을 나타냈다. 특히 유럽 최대의 민영방송사인 TF1은 20억원에 이르는 프랑스내 방송판권료를 지불하기로 해 향후 ODD 패밀리의 글로벌배급망 확보에 한층 가속도가 붙을 전망이다. ODD Family의 제작사 삼지애니메이션의 김수훈 사장을 만나 그간의 과정과 계획을 들어봤다.

• Digital Contents
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• no.7 s.158
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• pp.102-104
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• 2006

최초의 한미합작 3D애니메이션 <파이스토리>가 지난달 개봉됐다. 이 작품은 한국의 에펙스디지털과 디지아트가 미국의원더워드LCC와 공동제작한 것으로 국내제작진의 제작노하우와 기술력이 기반이된 ‘웰메이드’애니메이션으로 탄생했다. 불의의 사고로 부모를 잃은 초짜 물고기 ‘파이’가 새로운 삶을 찾아 홀홀 단신 캐리비안으로 입성하면서 벌어지는 신나는 해저모험을 그리고 있다. <매트릭스> 못지않은 박진감과 짜릿함을 선사하는 해저무술액션의 진수를 만나보자.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.339-354
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• 2014

As Hallyu has been spreading and influencing on global pop culture, the Hallyu audiences respond more diverse to Hallyu. This research focuses on the importance of international co-production between Korea and the countries receiving Hallyu and highlights on the roles of global media companies. To do so, this research introduces the international co-production cases in Vietnam which can be the center of spreading Hallyu in Southeast Asia countries. The research resources are journal articles, newspapers, and the parts of the Focus Group Discussion in Vietnam. The international co-productions between Korea and the countries can provide the opportunity for diversifying Hallyu contents and for communicating with Hallyu receivers better. This research considers the development trends of Hallyu contents based on the cases of CJ E&M in Vietnam and emphasizes building cooperative relationships with Vietnam cultural industry. Furthermore, it is necessary to support the number of Korean media companies to create contents and build networks so that the companies can advance to global media market.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.20 no.4
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• pp.23-33
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• 2020

The purpose of this study was to find ways to co-produce ASEAN-Korea co-production in the ASEAN market, which is the market that we should strategically converge in the domestic and overseas environment of the Korean content industry. The research content to achieve the research objective was targeted at viewers of broadcasting programs from five ASEAN countries, and the survey methods were conducted for case-research analysis. First, we analyzed the current status of Korean content broadcasting in five ASEAN countries during the first half of 2018, secondly, the status of use and awareness of Korean broadcasting programs in the five ASEAN countries, fourth, use and awareness of joint broadcasting programs with Korea, and finally, international joint production cases with Korea in the five ASEAN countries. Through this ideal, it is worth suggesting that the Korea-ASEAN joint production should strategically converge under the domestic and international environments currently facing the Korean content industry.

• Cartoon and Animation Studies
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• s.12
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• pp.56-72
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• 2007

The purpose of this study is to analyze the characteristics of animation cluster in Chuncheon. It has been over 10 years since Chuncheon was designated as the cluster raising the animation industry. The Chuncheon cluster is trying to differentiate through managing several unique strategies. In order to realize the micro-regionalism, it focuses on co-production not with domestic companies but with foreign companies. Especially, for establishing the whole concrete production pipe-line, it concerns to make co-production contracts dealing with not only for the main production part but also pre- and post-production parts. Based on these production experience, it is building the production complex in the name of ICT convergence cluster. The changed role of the policy-management organization(Gangwon Information & Multimedia Corporation, GIMC) enables these differentiated strategies by itself. The establishment of the Asian Animation Round(AAR) is recognized as the characteristic of macro-regionalism. Starting from the year of 2006, the AAR tries to place Chuncheon as the hub of animation production in Asia and focuses on constructing the network of animation production countries that have developed their production capabilities through sub-contracts. This type of production and market bloc has not been made before.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.598-608
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• 2016

This paper attempts to analyze the narrative strategy of co-produced transnational romance films, (2007) and (2010). These films were produced during the heyday of Korean wave, the phenomenon Korean popular culture enjoys overseas fandom. Coupling Korean male star with Japanese female star, and dramatizing their romance, the industries attempted to attract the nations' cultural consumers. International co-production has been considered as a mode of production strategic enough to penetrate into neighboring nations. One of the major benefits of international co-production is to cope with 'cultural discount' between nations. Since producers and directors from different cultural background can participate in the creative process and share ideas, they can devise quite strategic form and content to please culturally heterogeneous consumers. Korea and Japan have long been in socio-political conflict, which makes it crucial for these films' cultural producers not to stir spectators' nationalism. In other words, these films' cultural producers had to develop a narrative strategy not to analogize nations' political reality. This paper, therefore, aims to analyze the narrative structure of these films, and to specify narrative strategy in detail.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2020.07a
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• pp.574-575
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• 2020

지상파 UHD방송이 송출이 된지도 벌써 3년째에 접어들고 있다. 지상파 방송은 무료 보편적 서비스로 누구나가 받을 수 있도록 되어 있지만 실제적으로 방송을 수신하고 있는 가정은 소수인 것으로 알려져 있다. 따라서 본 논문에서는 관련된 UHD방송이 보편적 서비스가 가능하도록 하는 UHD방송공동수신설비에 관련된 현황을 조사하고자 한다. 기초적인 조사로 UHD방송공동수신설비의 구축을 위한 핵심장비인 UHD신호처리기는 다양한 명칭으로 제작되어 보급이 되고 있지만, 현재 UHD방송공동수신설비가 지원되는 사업 외에 자체적인 사례가 거의 없어 UHD방송을 시청하는 공동주택이 2.3%정도 인 것으로 파악된다. 따라서 본 논문에서는 UHD방송 및 방송공동수신설비의 활성화를 위하여 대안을 제시하고자 한다. 먼저 가장 중요한 UHD방송 콘텐츠의 제작이 우선이다. 또한 지상파 방송만이 UHD방송을 하는 것이 아닌 유료방송사업자의 적극적인 참여도 중요하다. 그리고 기술의 적극적인 수용이다. ATSC3.0은 양방향 서비스뿐만 아니라 다양한 플렛폼과 융합될 수 있다. 마지막으로 지상파 방송의 무료 보편적 서비스로서 사회안전을 위한 재난방송의 활용 방안과 함께 UHD방송공동수신설비에도 소소출력 중계기를 외부에 설치하도록 하는 다양한 수신환경 구축이 요구된다할 수 있다.