• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.305-322
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• 2016

With the multiplex and wide release strategy, the monopolies of four major distribution companies and three multiplex chain, the polarization of Korean movie's Box Office performance is deepening. The four major distributor of NEW, CJ CGV, Lotte Cinema distributed 290 movies of 538 movies produced from 2009 to 2014 in Korea. The audience market share of these four distributors is 85.74%, while other 248 movies covers only 14.26%, which are distributed by outsides of the four major distribution system. The concentration of film admission has been deepened in Gini Index from 0.53 in 2004 to 0.85 in 2014. The movies distributed by others rather than four major companies suffers inequality in numbers of secured screens, screening times, and secured seats of movie theaters. In the highest 10% of box-office ranking, there is only one movie distributed by others. The lowest 50% of box-office ranking, there are 186 movies by others, while four companies have 81 movies. However, Occupancy rate of seat of major companies is lower than 16.83% of that of the others in the lowest 50% section. Workers of Korean movie industry are suffered from this polarization and they seek their breakthrough by producing erotic movies for VOD in recent years.

• Review of Culture and Economy
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• v.20 no.1
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• pp.105-128
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• 2017

The purpose of this paper is to analyze the impact of distributors on the movie exhibition by distributor types. For the analysis, the concept 'screen elasticity of box office' is adopted. Using the weekly screening data of 94 hit movies released in Korea in 2014 and 2015, the panel analysis estimates the 'screen elasticity of box office' with the Hausman-Taylor estimator. The results show that the screen elasticity of box office is smaller for vertically integrated distributors(CJ E&M and Lotte Entertainment) and Hollywood distributors than the local distributors(Showbox and NEW) that do not own integrated cinemas. This means that exhibitors allocate a larger number of screens to vertically integrated distributors and Hollywood distributors. As the two distributor groups had higher market share during the period, the results imply that the screen elasticity is related to the market performance of distributors. Smaller screen elasticity of the vertically integrated distributors might be related not to the ownership to theaters but to higher market share of the distributors.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.353-354
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• 2013

본 연구에서는 다양성영화의 온라인 배급 사례를 분석하였다. 영화의 온라인유통은 일반적으로 극장상영 이후에 매체의 다양화를 통한 수익의 확대 측면에서 이루어지나, 다양성영화의 온라인 유통은 현실적으로 유일한 유통배급망일 경우가 많다. 이 연구는 다양성영화의 온라인 유통양상을 분석하여 다양성영화에 적절한 온라인 배급 형태를 고찰하는 것을 목표로 하였다.

• The Journal of the Korea Contents Association
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• v.14 no.7
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• pp.83-92
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• 2014

We examined the annual film distribution portfolio of a Korean film distributor, Lotte Entertainment, investigating how the company puts big-budget films and low-budget movies together. As a result, the distributor was found to invest more than 80% of its whole budget in producing medium-size movies. The more successful box office, however, was witnessed from big-budget films that the company spent more than 6 billion Korean wons. With respect to genre, comedy and drama were the most and second-most frequently produced. However, Those two genres were not the most successful genres in the box office. Korean movie-goers favored actions and thriller the most and second most. Comedy took only the third place of the Korean box office, signifying a discord between the portfolio and the Korean box office.

• Review of Culture and Economy
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• v.21 no.1
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• pp.3-20
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• 2018

This study investigates a comprehensive context between the vertical integration and concentration of Korean film market. The concentration of distribution and screening markets are result of industrial strategy to defend demand uncertainty and to pursue economies of scale. Major distributors are increasingly inclined to defend industrial risk by concentrating resources on blockbusters and bargaining power of the multiplex is getting strengthened by distribution competition to secure as many screens as possible. Vertically integrated multiplexes operate discriminatory preferential treatment to their affiliates, however, there is a difference in degree of discrimination between vertically integrated groups. Furthermore, it is difficult to exclude each other from the distribution competition in which the largest screen number has to be secured. It is difficult for multiplex only to pursue the interests of affiliates and make negative choices in screening performance. As the number of screening screens increases, the seat occupancy also increases. As a result, the polarization of the distribution and screening markets, including the screen monopoly, is a phenomenon that occurs commercial films centered markets and the unfair behavior of the vertically affiliated multiplex has a limited effect on the movie market.

• The Journal of the Korea Contents Association
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• v.8 no.1
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• pp.367-376
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• 2008

The purpose of this essay is to check what are the problems of the current Korean independent films and to find the solutions for effective circulation of the Korean independent films in terms of its intimacy to public. For this, I would like to define 'independent film' and 'its ambiguous distinction', and then I presented the current issues of the Korean independent films and suggested the alternatives of the effective circulation of its production and distribution. Independent films can be defined through our understanding and identification, and it is significant of mutual communication with the audience, so that I will classify the cases of box office of the independent films. The effectiveness of production can be suggested by lower budget and many financial supports, and the effectiveness of distribution is to have many occasions to release, to benefit with them and to release in many festivals. The effort of independent filmmakers, mutual communication between filmmakers and the audience, and the official supporting system will make it possible for effective production and distribution. With this possibility, the future of Korean independent film will be bright.

• Korean journal of communication and information
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• v.39
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• pp.355-384
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• 2007

The objective of this study is to see the characteristics of Korean films exported in Japan: preferred genres, casting of Korean wave star, major distributors' releases, number of spectators in domestic market. According to the analysis, first of all, Japanese movie goers prefer Korean melo-movies compared with Korean spectators who tend to like comics. It is also proven that Korean wave stars have been cast largely in Korean films exported in Japan. Furthermore, the big hit Korean films that have been distributed by 3 majors have been preferred by Japanese importers. That means the brand power of Korean distributors and release performance in domestic market can influence directly the exportation of films.

• 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.16 no.2
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• pp.96-105
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• 2016

This study examined determinants of movie success from foreign countries except the U.S. in Korea. This research is based on analyses of data based on 500 movies between 2004 and 2013. The major results are following; firstly, in terms of movie success, there were significant differences among three attributes including the origin of countries, genres and distributors. Although determinants of movie success from Japan were animation genre and major distributors, they were action genre and major distributors for European countries. Determinants of movie success from other countries was only animation genre. However, there were no any explanation factions for Chinese movies.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.375-385
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• 2020

This paper attempts to understand the reality of Netflix on the Korean film distribution market environment, and to verify the possibility of developing domestic content centered on independent films in the OTT market, led by Netflix. The research significance of finding the way for Korean diverse films and independent films that cannot be provided with investment and distribution opportunities in various Korean Wave contents will be studied, and the characteristics of Netflix in the Korean film market will be explored. Netflix disseminates Korean contents such as Korean movies and Korean dramas, contributes to the spread of the Korean Wave, and is re-adjusting the paradigm of the distribution market, raising issues that cause a virtuous cycle of profits, controversy over net usage fees, and flooding of Hollywood movies. Considering the nature of intercultural exchange, the interaction between independent film content, Netflix platform, audience, and global market will expand interactive communication opportunities. In other words, just as Netflix uses the Korean media market to make profits, Korea should also use Netflix to try to expand the global market of Korean film contents (K-Film)and maintain a cultural and economic reciprocal attitude.