• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.56-65
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• 2014

Most of experimental films have different visual techniques and aesthetic values compared to those of narrative films. This difference makes it difficult to understand experimental films. In order to understand in what ways the experimental film has broken with the convention of narrative film, it is important to examine certain structure of experimental film. The important aspect of many experimental films is the way that they have altered the nature of narrative by changing the way that we perceive the succession of image. In particular, The tradition of American Sturcture film has been the contribution of the experimental film to expand the limits of this rule system and evolve a more personal and organic approach to the continuum of film. This approach has been a method of understanding experimental films and still a useful aesthetic tools both reading personal films and making innovative works.

• Journal of Digital Convergence
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• v.12 no.9
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• pp.325-333
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• 2014

The purpose of this research is to analyse the structural aspect of storytelling in contemporary cinema which is focused on the Apichatpong Weerasethakul's film. The structural/materialist filmmakers insisted the formal experiment of film form itself and the methodology to create meaning by using it. Apichatpong Weerasethakul accepted and recreated aesthetic result of the structural/materialist film to transform his own cinematic style. As a result, he expanded his film aesthetic to post-modern film aesthetics. For this, he created the structure of film by using diegetic and non-diegetic sound and image creatively. The conventional storytelling method of contemporary cinema is based on the classic theory of 'poetica' of Aristoteles, which creates illusory diegesis of cinema. but Apichatpong Weerasethakul seeks and re-constructs storytelling methodology based on the product of structural/materialist film.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.287-298
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• 2020

The purpose of this study is to analyze the narrative structure and types of films that has attracted more than 10 million viewers ('10 million films') among films released in Korea, and deal with the implications of the current Korean film industry. To this end, this study investigated the relationship between films and their narrative as a product of the film industry. To approach this, We dealt with the features of structuralist analysis and archetype or mythological narrative analysis. For a detailed analysis, a total of 27 films of "10 million films" were categorized using Northrop Frye's original narrative analysis method. As a result of the study, 13 comedy structures, 7 romance structures, 4 tragic structures, and 3 irony and satire structures. It was confirmed that the "comedy" and "romance" structures had a high percentage of all 10 million films, and occupied the top ranks in the box office rankings. In conclusion, this study confirmed the narrative rules and customs of films hitting Korean box offices, and through this, it was possible to examine a rough topography of the film consumption of the public in the Korean film industry. This can be said to provide a clue as to how the narrative of the film should be constructed when producing a film from an industrial perspective.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.152-161
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• 2011

This study examines characteristics of sports movies between Korea and the U.S. Especially, this paper focuses on three different characteristics including structural, internal characteristics and performance of sports movies. The major results are as follows: firstly, there were similarities between two countries in terms of opening year, genre, classification but movie subjects. More specifically, movie opening years were not related to global sports events. In addition, most sports movies were mainly produced by human genre and all age movie classification. However, in terms of sports subjects, although Korean movies were constructed by baseball game, the U.S. movies were based on football game. Secondly, there were also similarities between both sports movies in terms of external characteristics such as gender difference of hero or heroine, internal story structure and their story sources. Most of sports movies have used real stories as movie story. Finally, although many of the U.S. sports movies recorded the high degree of expenditures, three movies recorded the high degree of movie consumption.

• Proceedings of the Korea Information Processing Society Conference
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• 2012.11a
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• pp.629-632
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• 2012

클로즈 업 숏은 영화의 서사구조와 밀접한 관련이 있다. 등장인물의 얼굴을 확대하여 보여줌으로써 표정의 변화를 섬세하게 표현할 수 있다. 이를 통해 관객에게 등장인물의 감정이나 심리상태를 세밀하게 묘사해 줄 수 있다. 따라서 영화에서 클로즈 업 숏을 검출하고 분포도를 파악하는 것은 영화의 서사구조를 분석하는데 있어 중요한 데이터로 활용될 수 있다. 또한 영화의 정보 검색에 활용될 수도 있다. 본 논문에서는 얼굴 검출 기술을 활용하여 클로즈 업 숏을 자동으로 검출하여 영화의 클로즈 업숏 분포도를 계산하는 방법을 제안한다. 또한 제안한 방법을 시스템으로 개발하여 서사구조와 클로즈업 숏 간의 관계를 분석한다. 10개의 영화에 대한 실험을 통해 클로즈 업 숏이 영화의 전반부보다 후반부로 갈수록 많이 사용되는 것을 확인하였다.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.780-788
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• 2016

The purpose of this study was to research the limits of sports films from the perspective of social structural on the category, the material, the formulas and the mixture of the materials in the movie. The results were as follows: First, Sports films have been faced with the basic problem as to what a standards the category were classified with because of the conceptual confusion about what sports movie was. Second, sports movies could not catch up with a lot of changes in the movies. Third, sports movies were confined, without flexibility, within old fashioned formality of stories which prevails in modern sports. Lastly, they didn't have the mixture of the materials due to the fixed recognition on sports.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.354-364
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• 2016

With the advancement of the digital convergence of content and platform, Korean film industry sees good opportunities of maximizing the profits and increased distribution opportunities by independent film makers. Nevertheless, the domestic film market almost entirely relies on the box office sales, which seems to be caused by the stagnation of new additional copyright market. The study aims to address the following problems: First, information asymmetry of the revenues to which the contents providers and the service providers are exposed leads to the distrust among digital film contents businesses and the disadvantages to film makers and investors, in particular. Secondly, the VOD(Video on Demand) market of film industry is adversely affected by the illegal uploads and downloads of film contents, which harms the formation of paid additional market. Based on the examination of current legislation and policy options addressing these issues, the study suggests legislative accomodations and cultural industry policy alternatives to promote the additional market of film industry.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.100-107
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• 2013

Agn$\grave{e}$s Varda is a French representative female film director. In particular, the method combining subjectivity and objectivity is the most outstanding characteristics. However, it can be said that the method to support this is not only theme of the film but also creation of structure including the exploration for the filmic form different from classical film form. Such an approach accords with No$\ddot{e}$l Burch's refined analysis of filmic form. Therefore, This study aims to aesthetical analysis of the form of producing the structure in modern movies through which is one of the representative work by Agn$\grave{e}$sVarda and won the Golden Lion award in 1985 Venice Film Festival. The theme of the film, the recovery of relationships among people and contacts through the tragic death of drifting life, created a new filmic structure by formative experiment of the film. The formative experiment is the fragmented and repetitive construction with the introductory voice-over, and consists of movement and editing of camera and specific use of flashback and sound through the representation of figures and situations, mixture of narrative and non-narrative style.

• Journal of the Economic Geographical Society of Korea
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• v.20 no.4
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• pp.453-485
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• 2017

One of the oldest chestnuts in economic geography is this: Cultural and creative industries strongly gather in large cities and this geographic concentration of economic activities leads to regional development. Of course, depending on the circumstances, such a proposition still holds good. But, under the current paradigm shift to knowledge-based economy, it may be open to question. This study aims to investigate financing and knowledge accumulation in the film industry through an alternative framework for explaining their spatial distributions, "formation mechanism of economic space." From the fact that their production organizations are formed on a project basis, project-based financing structure in the investment stage and knowledge accumulation process in the production stage form both axes of it. Film industry as the most mature industry among the cultural and creative industries does not always concentrate in a certain place (industrial agglomeration) or show metropolis-oriented preference. This allows us to reconsider our long brooding theory.

• The Journal of the Korea Contents Association
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• v.13 no.4
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• pp.125-136
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• 2013

This paper studied the transition of changes in social status of the film since 1980s' Korea. After accepting the changes in social status of the film as the legitimation process of recognition for social and cultural value, this study investigated those influencing factors. For the purpose, opportunity structure in social movement theory was engaged as a theoretical background. The structured opportunity, which was considered as external variables of the film world, was divided into chance and risk factors. In this paper, the opportunity factors, affecting the legitimation process of film, included the emergence of popular culture movement. The risk factors, being considered as the violation of American filmdom and the consequential response of strategies were also researched. Those factors were responsible not only for external variables of filmdom, but also for compensators and competitors in the legitimation process of the film. Since 1980s', cultural industrial growth and democratization generation's entry into the film world affected the legitimation of the film as significant cultural product. Besides, the threat of American film industry changed rationality and competitive landscape of Korean film world.