• Proceedings of the Korea Contents Association Conference
• /
• 2012.05a
• /
• pp.325-326
• /
• 2012

세 얼간이는 국내 포탈 사이트에 평점 등록한 네티즌만 2만여 명이 넘었으며, 네이버 9.43, 다음 9.7, 네이트 9.5 등의 평점으로 역대 영화 평점 순위 1위를 차지했다. 반지의 제왕 같은 판타지 블록버스터, 타이타닉, 대부 등 세계적인 흥행으로 전설이 되어버린 작품들의 기록을 뛰어넘는 것으로 전 세계 부동의 흥행 1위 아바타를 뛰어넘고, 700억 원이 넘는 수익을 창출했다. 세 얼간이가 성공할 수 있었던 것은 몇 가지로 볼 수 있는데 영화 전편에 걸친 스토리텔링과 비선형적 스토리구성, 모션의 활용, 사운드의 활용, 이벤트의 활용 등 인터랙션과 스토리텔링의 효과가 우수하였다고 사료한다.

• The Journal of the Korea Contents Association
• /
• v.15 no.5
• /
• pp.560-569
• /
• 2015

Crowd funding is the method of raising money for a project, companies from a large group of people via the Internet, in return for future products or equity. Kickstarter is the largest and most successful crowdfunding site where creative projects raise reward based funding. Drawing on dataset of 80,267 projects with combined funding over $1.3b from 8.1m people, this paper suggest that backer select project based on their preference on the project, instead profitability of the project. It suggests that well-established platform and big size of network increases the chance of success of the project due to a ripple effect and blockbuster effects. Clear communication about the project's idea and goal is highly correlated with success. Regular communication on the project site, such as by constant progress updates, helps the success of the project. Equity-based crowdfunding is emerging as an innovative means of raising capital for businesses, so it has been receiving a lot of attention and expectation from the government and the market. The findings of this paper and others will help to get some understanding and insight into equity-based crowdfunding. However, Kickstarter differs from equity-based crowdfunding in the goals of the backers. Kickstarter's backers are not investors, they are contributors. To understand equity-based crowdfunding, the subject will need further study.

• The Journal of the Korea Contents Association
• /
• v.21 no.8
• /
• pp.69-78
• /
• 2021

With technological development including digitization, movie demand and supply in digital online movie market are increasing. This study aims to explore demand concentration of the digital online movie market, which is characterized by product variety compared to cinemas. Major findings of the empirical analysis on the TV VOD data during the recent seven years(2013 ~ 2019) are as follows. First, the analysis on 1,137 titles reveals that movie demand of theatrical market is more concentrated than that of TV VOD. Second, absolute long tail index of TV VOD, measured by the download number of indie & artistic movies(niche product), is increasing as more such movies are released in the market. However, both relative long tail index, measured by the share of indie & artistic movie demand, and top-ranked movies' share do not show consistent increase or decrease trend. Third, regression analysis exhibits that the relationship between demand concentration and market size is insignificant for TV VOD market. This study might have usefulness in that it provides empirical evidence for the nature of the Korean digital online movie market.