• The Journal of the Korea Contents Association
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• v.17 no.10
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• pp.503-517
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• 2017

After a few recent documentary films had commercial success, factors for their success are getting attention. This paper explores the factors of the financial success of two documentary films. "My Love, Don't Cross That River" gained extended popularity with its universal message, and "Two Doors" conveyed a poweful political message. This paper conducted a case study by inteviewing production directors and distribution managers. Analysis was based on the three categories suggested by Litman and Kohl(1989): creative sphere, distribution-scheduling release pattern, and marketing efforts. Findings present the common factors of the two movies' success in the following areas: persons and events showing a powerful reality, a message with new and fresh insight, artistic quality, distribution strategy with timely scheduling, release time (period), public relations, and advertising.. In addition, "My Love, Don't Cross That River" was helped by a sufficient budget for scheduling/releasing and advertising. Its wide-release stratergy worked as well. "Two Doors" was aided by the government support for release and by the special factor called 'Participating viewer'. By examining the factors of documentary films' commercial success, this study has an implication for the popularization of documentary movies by indicating how to strategically apply relevant factors.

• The Journal of the Korea Contents Association
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• v.17 no.6
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• pp.296-310
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• 2017

The present study analyzed the factors affecting the box office performance of movies in the Chinese market in 2010~2014. A total of 499 movies were selected for the final analyses. Based on the previous studies, genre, actor/actress power, director power, sequel, remake, release period, award, online evaluation, distributor power, and production area were chosen as independent variables. Regression analyses showed that most of the independent variables except for distributor power were found to affect box office performance of the movies.

• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.257-267
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• 2021

This study warns of the dangers of pre-marketing that is too preoccupied with raising market expectations before release at the film market level, and provides practical implications that the lower the level of mismatch of market expectations, the more ideal performance can be achieved. The level of expectation before release and satisfaction after release were measured by each movie rating, and the difference was calculated as the inconsistency of expectations. In raising expectations before the release, the expert rating among the star power, director power, expert rating, and number of screens has a significant influence. It was confirmed that the level of expectation before the release had a positive effect on the rating after the release, but had a negative effect on the level of discordance. In addition, the hypothesis that the higher the expectation level before the release, the greater the inconsistency, and the hypothesis that the higher the expectation inconsistency has a negative effect on the box office level is supported. This provides various implications for marketing carried out before or after the release of a movie to film-related practitioners for products with low involvement or emotional content such as movies.

• Cartoon and Animation Studies
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• s.33
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• pp.293-315
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• 2013

The number of French movies imported to and released in S. Korea is constantly increasing. All French movies released in Korean theatres, however, are not a great success. For the domestic film market and audiences, the idea French cinema is generally equivalent to 'diversity cinema' or 'arthouse films' is common notion. In this respect, French movies introduced throughout the country would be culture product into which one can read other cultural significances different from that of domestic cinema, and also serve significant cultural value to understand diversity in cinema, for domestic audiences. However, it could be said that French movies, in common with Hollywood films, obey rules in the film industry and needs for audience trends. In this content, what the researchers want to do is to analysis the tendency of the domestic audience reception and main causes of commercial success in the domestic film market, analysing Taken produced in France. The analysis, most of all, suggests the consideration for the film industry beside the notion of cultural diversity in cinema, as imported films are released in the domestic theatre. For this, the study examines the promotional strategy the french cinema perceived generally as the arthouse film applies extensively, analysing on Taken, and inquires into factors of commercial success, using SWOT Analysis. This study, the first of all, (briefly) examines what audiences consider when they choose a film to watch, articulating (generally) the choice-and-consume modality of the domestic audience. And then, it examines dominant factors Taken was a commercial success in domestic film market, even though the film is a french film, using SWOT Analysis. On the basis of SWOT Analysis, finally, this study draws up promotional plan for Taken, and shed new light on dominant preconditions, when the foreign cinema would be imported from the now on.

• Proceedings of the KAIS Fall Conference
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• 2010.05b
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• pp.788-791
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• 2010

One Source Multi-Use(원 소스 멀티 유스)'란 하나의 소재를 서로 다른 장르에 적용해 파급효과를 노리는 마케팅 전략을 말한다. 이 같은 '원 소스 멀티 유스'의 대표적인 소재가 바로 만화다. 그러나 근래에 들어서는 만화를 비롯하여 소설, 게임, 애니메이션, 영화 등을 원천소스로 하여 다양한 장르로 변형되고 있다. 그중 대표적인 것이 '공포의 외인구단'과 '바람의 나라'를 들 수 있다. '공포의 외인구단'은 이현세의 원작이고(1982-1983)이고 '바람의 나라'는 김진의 만화가 원전이다(1992-2008현재). '공포의 외인구단은 곧바로 영화화 됐으며 20년 후인 2009년에 드라마로 만들어 졌다. '바람의 나라는' 1997년 국내 최초의 온라인게임으로 만들어져 현재까지 많은 사랑을 받으며 서비스되는 게임이며 또한 2006년과 2007년에는 뮤지컬로도 만들어졌고 최근에는 TV드라마로 만들어져 많은 인기를 얻고 있다. 또 다른 예로는 '툼레이더'를 들 수 있는데 이는 게임이 원작이고 게임의 인기를 업고 영화로 만들어졌으며 세계적인 흥행성공에 힘입어 속편까지 제작된 상태이다. 이에 본 연구에서는 '원 소스 멀티 유스'의 대표적인 성공사례인 '바람의 나라'와 '툼 레이더'의 여러 요소 중 시각적인 요소인 캐릭터와 영상이미지의 분석을 통해 흥행요인을 도출하고자 한다.

• Review of Culture and Economy
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• v.20 no.3
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• pp.3-33
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• 2017

The present study analyzed movie consumption behavior from the perspective of transaction cost, taking into account the possible incurrence of additional costs in the process of consumers obtaining movie information to choose movies. Regression and multinomial logistic regression analyses were performed in the analysis by taking movie information and the individuals' social demographic characteristics as independent variables and the number and frequency of movies watched as dependent variables, using information from the "2015 movie consumer survey." The results showed that consumers considering elements such as "directors" and "online reviews" were found to be more active in movie consumption. The analysis of movie-watching frequency showed that the information considered when choosing a movie was different for high- and low-frequency movie viewers. Putting these factors together suggests that movie consumption can vary according to an individual's cultural capital, preferences, and their degree of movie information awareness. While existing studies have mostly analyzed the determinants of box office performance, the significance of the present study is its empirical analysis of individual movie information in terms of transaction cost. Based on the results above, it can be inferred that the cyclical structure of trading expenses influences movie consumption and, once preferences are formed through a certain level of consumption, the trading cost expenses decrease, which results in increasing consumption. Therefore, film makers need to establish and execute marketing strategies that appropriately use movie information so that consumers can reduce the trading costs necessary for movie watching.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.87-98
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• 2019

This study sought to identify the impact of scenarios, capital, manpower (directors, actors), media promotion, oral communication, and recognition on the intention of watching movies, and to present marketing and policy implications to film producers for ways to revitalize their films. Therefore, the implications of this study are as follows: First, if you watch a movie with a friend or introduce a movie, you should set up a marketing strategy to promote the movie as a oral message to the people around you through double points and free admission at the 10th movie. It will also require the promotion of the scenario to be strengthened so that people around them can recognize it naturally. Second, film production companies will have to improve the quality of their movies by readjusting the distribution of capital in the event of capital investment. In addition, the movie should be encouraged by the oral publicity that the huge amount of capital has enhanced the quality of the movie, as well as pre-experience events to help the audience recognize it. Third, filmmakers will have to choose directors and actors who can digest novel and experimental material over the director's or actor's reputation. Fourth, the movie promotion company should set up strategies to cater to visitors through a contest for ideas for promoting visitors, which can arouse interest among visitors. Fifth, movie promoters will have to set a sufficient promotional period for visitors to be aware of the film in advance. Finally, movie writers will have to create scenarios with a variety of materials that meet the needs of visitors. Also, movie officials will have to develop or create a mechanism for those who watch the movie to practice oral and cognitive skills.