• Journal of Popular Narrative
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• v.27 no.1
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• pp.99-130
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• 2021

This paper examines printed materials such as weekly newsletters and leaflets issued by Dansungsa, a movie theater in Colonial Korea for a promotional purpose as independent modern media. During the 1920s and 1930s, in tandem with the development of the incipient printing houses in Namchon, Gyeongseong, including Suyeongsa, Dansungsa published promotional prints including weekly newsletters and leaflets in a serial manner to compete with Joseon-gukjang and Umigwan. As these materials contain various information including movie programmes, spectatorship, distributional channels, and promotional strategies that bears witness to theater culture of this time, this paper focuses on the dynamics where not only text and image but also audiences and filmic texts are mediated one another. To this end, the paper has three objectives. First, I argue that weekly newsletters and leaflets can be considered as 'flickering media' that meddles in text and image culture. Second, Dansungsa's promotional prints interpellated film audiences as a loyal fan group while mediating audiences and filmic texts. In doing so, I suggest that these print materials established its own cultural domain differentiated from filmic culture itself. Third, these ephemeral materials contributed to narrowing the gap between colonial Joseon and the World in its imaginary geography through the function of mediation.

• Cartoon and Animation Studies
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• s.13
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• pp.163-179
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• 2008

It is no longer an issue that there is a big audience for Korean movies. More than 120 Korean movies are made each year. Many win prizes at film festivals around the world. But the number of animation movies made in Korea is decreasing even though the government tried to revitalize the animation industry in the mid-1990s. The problem is that all Korean animation movies were box-office failures, even though "Mary's Story" and "Oseam" were awarded prizes in world-famous animation festivals. Korean animation movies also face hurdles because of different cultural tastes of Korean audiences and problems with distribution. But there is a tremendous amount of potential and possibilities for Korean animation movies to be box-office blockbusters and artistic successes. There are ways to develop and revitalize the Korean animation industry and make it of the most important businesses and cultural influences in Korean society.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.1-13
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• 2019

This study examines the impact of factors that affect Hollywood movies' box office performance, using a sample of 149 movies that were ranked number 1 on the first week of release between 2014 and 2018. Such factors as production budget, the number of opening screens, the valence and volume of both critics and netizens, rating, distributor's power, remake, high season, genre are introduced to analyze box office performance. The result shows that the determinants of the US box office and the total box office are different. Considering the difference in budget by genre, the number of opening screens is not influential in the US box office performance of all genres with production budget of less than $100 million. The result suggests the need to refine more elaborated models for future research on box office performance.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.25 no.12B
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• pp.2120-2130
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• 2000

최근 들어 예술 영상컨텐츠 유통시스템의 구축이 영상컨텐츠 산업에서 매우 중요한 이슈로 등장하고 있다. 선진 외국에서는 예술감성 기반 영상컨텐츠의 유통에 관련된 사업을 이미 애니메이션, 게임, 캐릭터, 광고, 방송, 영화, 비디오 등의 분야에서 진행하고 있다. 국내에서는 관련된 연구가 거의 없는 실정이며, 본 논문에서 사이버 코리우드의 실현에 관련된 정책방안 제시를 목적으로 예술감성 기반 영상컨텐츠의 유통시스템 구축에 관련된 연구를 수행하였다. 연구결과는 예술감성 기반 영상컨텐츠의 제작·처리·편집·배급·유통에 관련된 기술의 국내 고유모델 개발, 수입 절감, 한국형 예술영상컨텐츠의 개발, 가상스튜디오 구축, 예술영상산업의 발전 등에 크게 기여할 것으로 판단된다.

• 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.

• Cartoon and Animation Studies
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• s.21
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• pp.71-84
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• 2010

The current distribution structure in Korea film industry is in the multiplex chain. As a result, most small or medium-sized theaters have been excluded from the market, and all the multiplex chain have gradually been formed into the vertical integration structure. The strike by multiplex theaters in Chuncheon who did not screen for one month led to the problem of the vertical integration, which resulted in many effects. Particularly, it caused considerable effect on the cultural desire and instigated movie-goers to turn to illegal content. This study surveys the process in which Korean multiplex theaters in vertical integration structure took over the Korean film market, and consequently, small theaters collapsed, and the theaters in vertical integration structure kick out small theaters in horizontal integration structure, and conducts a survey on the effect of the one-month strike by Chuncheon CGV from September 27 to October 30, 2008 in Chuncheon where said processes had completed so as to determine the effect of and impact of the problem of the vertical integration, monopoly structure. When major consumers of the film industry, i.e., people in their 20s, see their access to newly released films limited due to closing of multiplex theaters, they feel the impulse to access illegal contents. If they miss viewing the newly released films, they prefer to view illegal contents or films on recording media rather than visiting theaters showing those films. They are also influenced by timing of film release. Specifically, methods of illegal access to newly released films, permanent accessibility to them via recording media, and timing of film release influence their viewing patterns.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.586-593
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• 2018

When newsreel was organized in 1967, it was a small but strong revolution. New York newsreel became the third world newsreel in 1972. The third world newsreel clearly stated that the purpose of the organization should be the alternative provision of the Television news. They also notified the revolution of the production system and the distribution system. Christine Choy who actively worked at the Third world newsreel succeeded the spirit of the organization through her works. Through the third world newsreel and Christine Choy who was the representative of the organization, this article is dealing with the mode of production and the style and the aesthetics of the Newsreel. Their activities were originally political and always controversial. They agonized who should be the film maker, how should be the distribution system. Through the strong arguments, the group had acquired not only collective identity but also collective production. Those collaborations had become the foundation of their works. Christine Choy has been a key figure of the Third world newsreel and her films has focused on the racial problem and gender problem. Her works have always been political and historical.

• The Korean Journal of Applied Statistics
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• v.29 no.7
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• pp.1257-1270
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• 2016

This study deals with the prediction of the total number of movie audiences as a measure for the box office. Prediction is performed by classification techniques of data mining such as decision tree, multilayer perceptron(MLP) neural network model, multinomial logit model, and support vector machine over time such as before movie release, release day, after release one week, and after release two weeks. Predictors used are: online word-of-mouth(OWOM) variables such as the portal movie rating, the number of the portal movie rater, and blog; in addition, other variables include showing the inherent properties of the film (such as nationality, grade, release month, release season, directors, actors, distributors, the number of audiences, and screens). When using 10-fold cross validation technique, the accuracy of the neural network model showed more than 90 % higher predictability before movie release. In addition, it can be seen that the accuracy of the prediction increases by adding estimates of the final OWOM variables as predictors.

• Journal of Broadcast Engineering
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• v.15 no.3
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• pp.391-406
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• 2010

Digital cinema based on digital master distribution increases with stereoscopic film as the center. DCI specification V1.0 announced at 2004, it considerates stereoscopic film screening. And now, the Society of Motion Picture and Television Engineers is establishing a task force to define the standards of a stereoscopic contents viewed in the home. Today, most Hollywood commercial stereoscopic film features animation using computer graphic. However, considering film making characteristic, stereoscopic digital cinema is required shooting in real world and editing, screening. This paper presents possibility of stereoscopic examination at NLE in the stereoscopic workflow. And we will propose new stereoscopic digital cinema workflow to apply the stereoscopic examination. Based on experimental results, the 3D ready television using 120Hz has some obstacles for contents editing, but most domestic stereoscopic monitor using circular polarization is possible for successful editing.

• Cartoon and Animation Studies
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• s.48
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• pp.249-269
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• 2017

Promotion and marketing, which are essential to lower the investment risk and maximize commercial profit in the video game market. Game developers and publishers set up public relations strategies to encourage potential consumers' needs. Considering characteristics of video game, the trailer, which is the animated image advertisement material, could occupy a key position in its promotion and marketing plan. Cinematic spectacles and attractive narratives are essential ingredients for game trailers, which are usually produced in 3D animation. Dead Island is an open world first person shooters (FPS) game released in 2011. When launched, it grabbed a great attention with a trailer, awarded the Golden Lion Prize for the best internet film at the Cannes Lions International Festival of Creativity. The game was a commercial success and several spin-offs were producted. In 2014, its publisher, Deep Silver showed the official trailer of Dead Island 2 at Electronic Entertainment Expo, the world's largest game show. Dead Island 2 was scheduled to be released in 2016, but has been now delayed until 2018. This study compares and analyzes two trailers of Dead Island 1 and Dead Island 2. We examine the narrative structure of the trailer for the sequel promotion of a successful game. The differences between the two could be useful for building a promotion strategy of other game series.