• 월간산업보건
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• s.387
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• pp.62-63
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• 2020

망하기 일보 직전의 동물원을 살려라! 영화 <해치지않아>는 동물원 '동산파크'에 야심차게 원장으로 부임하게 된 변호사 '태수(안재홍 분)'와 동물 탈을 쓰고 동물로 위장근무하게 된 직원들의 기상천외한 미션을 그린 이야기다. 영화 속 인물들처럼 10kg 안팎의 무게에 달하는 탈을 쓰고 일하는 건 쉽지 않다. 특히나 한여름에는 온열질환에 시달리기 십상이다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.103-111
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• 2019

Under the background of globalization, the borderless nature of film and television language makes the exchange of film as the carrier become an important part of cultural exchanges in various countries. Therefore, film co-production between China and the United States, China and Japan, China and South Korea and other countries has become an important part of the current Chinese film industry. Among them, China and South Korea are close neighbors, and the exchanges between the two countries' films are also increasing. Korean movies have recovered since the 1990s, and they prospered at the beginning of the 21st century, and have formed a unique influence in the international community, especially in crime, suspense, love and other types of films. The co-production of Chinese and Korean films began to appear in 2000, and the signing of the "China-Korea Co-production Film Agreement" in 2014 prompted the rapid convergence of Chinese and Korean film co-productions. However, the co-productions of China and South Korea did not achieve good expectations in terms of communication effects and market evaluation. This article will use the "cultural discount" theory in cross-cultural communication to analyze the reasons for the cultural discounts produced by Chinese and Korean co-productions and how to avoid this phenomenon to the maximum extent.

• The Magazine of the IEIE
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• v.31 no.6
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• pp.40-51
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• 2004

최근 크게 흥행에 성공하고 있는 국산영화들은 국내 영화팬들을 열광케 하고 이제는 해외에서까지 인기를 크게 누리고 있다. 이러한 국산영화의 성공은 심지어 영화에 무관심했던 사람까지도 영화관으로 끌어들이고 관심을 갖게 하고 있으며 영화산업의 발전가능성이 다대함을 증명해 주고 있다.(중략)

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.15-24
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• 2019

Hollywood traditional movie companies are continuously challenged by new-type companies represented by the streaming content platforms. Based on the latest market statistics, and with a multidimensional approach involving the production, distribution, projection and overseas market, etc, this paper analyzes the changes and development of North American movie industry in its process of coping with the globalization and digitalization of media in 2018, and summarizes the effective measures for Hollywood mainstream movie companies to adjust their own structures and operation mechanism to maintain their development in the environment of new media consumption.

• Aerospace Industry
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• s.97
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• pp.52-53
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• 2007

항공기를 좋아하는 사람들에게는 누구나 어릴 적 추억이나 감명 깊게 본 항공영화가 하나쯤 있게 마련이다. 그리고 우리들 뇌리에는 탐 크루즈 주연의 탑건(TOPGUN)이라는 영화가 강한 인상으로 자리하고 있다. 하지만 영화는 배우들이 만들어낸 허구일 뿐, 실제 F-14 전투기의 공중전을 통해 조종사들의 생활과 애환을 다룬 작품은 따로 존재한다.

• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.136-145
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• 2010

China shows an evident growth in its visual culture in recent years, fueled by its accumulated wealth and the influx of relatively advanced visual culture from Hong Kong. There have been recent attempts to further the economic ties with Taiwan to form a pan-Chinese film market. Considering most Chinese blockbusters are produced by film makers in Hong Kong, it is safe to claim that Chinese films are the extension of Cantonese films. This text examines the past makings of Korean-Cantonese films and their influence. Based on the findings, it explores the necessary efforts on a civil level and the governmental support, required for Korea to make its way into the pan-Chinese film market as an equal participant. Such foundation would protect Korean film market in the midst of fast-changing media scape and serve as a stepping stone for Korea's advance into the pan-Chinese visual market.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.10a
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• pp.531-534
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• 2011

It can be said that film and game industries take core parts of the comtemporary cultural industry. For consumers in modern industry, cultural industry is immensely significant as much as other industries. Because consumers are spending proportionally more money on experiential and emotional needs and less on basics such as food, housing, and clothes. Cultural industry is the one that can give us 'cultural satisfaction'. Some may say the film industry is different from the game industry in genre. However, we have no difficulty in finding many common characteristics between them since we are living in the world where any content or genre cannot stand alone and contents' boundaries diversify themselves to meet consumers' demand in daily basis. The purpose of this study is to look into the impact of the film industry on the game industry and to show how these different industries can coexist successfully by creating a synergy effect.

• The Journal of the Korea Contents Association
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• v.6 no.7
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• pp.111-118
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• 2006

This paper aims at exploring the efficiencies of Big 3 Multiplexes(CGV, Lotte Cinema, and Megabox) in Korea over the 3 years between 2002 and 2004. For the Korean Film industry, the years 1998 over were a period of challenge and extreme transaction due to building of multiplex that began in 1998. This paper begins with the present state of film market and multiplexes in Korea and provides an overview of the reasons why Korea film industry have been sharply increased in customer growth. The purpose of this paper is to investigate the film industry competition power for multiplex according to the technical and scale efficiency scores of DEA(Data Envelopment Analysis) method.

• Journal of the Korea Convergence Society
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• v.10 no.3
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• pp.291-296
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• 2019

In the movie market, make-up shows various ways of make up in professional technology as the industry develops. Therefore, it is necessary to analyze the trend of making a movie with a change in the type of movie Regarding the characteristics of makeup in the early days of silent films, the stage makeup was fully used. also in the days of sound films, the realistic and concrete makeup was expressed such as straight makeup, character makeup, Special effects makeup, and digital makeup. With the development of the fourth industry, CGI special effects have become possible not only in the background of movies but also in makeup. In the movie, makeup does not use CGI makeup alone, but it is used in a combination of straight makeup, character makeup, and special effects makeup. That's why a variety of makeup needs to be taught. In the future, the domestic film industry should establish the improvement measures for educating the techniques of prosthetic/digital makeup by securing the sufficient finances to more vitalize the film industry of Korea in domestic/foreign markets.

• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.212-220
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• 2019

This study evaluates the extent to which the government's financial support policy, the Audio-visual investment fund, contributed to raising capital for Korean films. Audio-visual investment fund in the Korean film industry, which has been formed through the public sector support since 1999. The Audio-visual investment fund is a leading financial support policy for the Korean film industry, and began with the investment of the Small and Medium Business Administration and the Korean Film Council. It has become an important source of Korean film production costs and has spread to other cultural industry sectors, as a way of capital procurement for a start-up companies and cultural projects. This study reconstruct the data of the organizations such as the size of a new investment fund by public sector, the ratio of public capital contribution, the amount and number of investment in Korean films, investment multiplier compared to equity investment, and the internal return rate(IRR) of liquidation funds in the Korean film capital market from 1999 to 2017. The purpose of this project was to provide the basis for assessing the achievements of the Audio-visual investment fund policy in contributing to the growth of the film industry.