• The Journal of the Korea Contents Association
• /
• v.13 no.10
• /
• pp.226-233
• /
• 2013

This study examines determinants of film consumption. Using structural equation modelling, this study explores some factors that explained film consumption based on film tastes and information seeking and socio-demographic factors. The major results are as follows: firstly, the major factor for explaining film consumption was individual tastes for films. The higher the degree of tastes for films, the greater the degree of film consumption. Secondly, there were significant relationships between tastes for films and film related information seeking such as internet search behavior and the use of film blogs. More specifically, the use of film blogs partially explained the degree of film consumption. Thirdly, a demographic factor like gender was highly correlated to film consumption. However, an income factor was not correlated to fim consumption. In conclusion, the degree of film consumption was determined by tastes for flims, the use of film blogs and gender factors.

• Korean journal of communication and information
• /
• v.40
• /
• pp.221-248
• /
• 2007

This study examines structures and characteristics of movie consumption media. Using survey data, this research focused on combinations of movie platforms including theater, video, DVD, terrestrial television, cable television and the Internet. The results indicated that there were forty eight combinations in accessing theatrical movies. The market share of theaters was approximately 33.5%. However, this has increased to 64.50% in case of integrating other movie consumption media. The results of Chi-Square analysis showed that although the older movie-goers prefer to theaters, the youngers like to access other movie media. In addition, many movie-goers tended to replicate their viewing at the theater.

• The Journal of the Korea Contents Association
• /
• v.22 no.8
• /
• pp.170-179
• /
• 2022

In the theater-based movie industry, it is known that the diversity of movie consumption is hindered due to concentrated consumption. This study extends the existing discussions on the concentration of movie consumption in theaters to the concentration of online movie consumption. In addition, the study analyzes the impact of Covid-19 pandemic on movie consumption and the concentration thereof. For analysis, panel data for the period from 2012 through 2021 were collected by utilizing the box office data of the Korean Film Council. As a result of the analysis, it was found that the concentration of consumption by movie, country, and genre was higher in theaters than online. Further, the concentration of movie consumption has increased both in theaters and online until the outbreak of Covid-19 pandemic. During the Covid-19 pandemic period, the size of consumption has decreased both in theaters and online, while the concentration of consumption by movie online has increased. The result of this study implies a need for policy-level efforts to convert the trend of consumption concentration for long-term development of the movie industry with secured diversity of movie consumption, and for this, the study suggests that the use of online media would be useful.

• Review of Culture and Economy
• /
• v.20 no.3
• /
• pp.3-33
• /
• 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
• /
• v.14 no.6
• /
• pp.109-124
• /
• 2020

This study examines the concentration in terms of supply and consumption in the Korean movie market, focusing on screen size, nationality, and the box office. For analysis, it selects the top 100 movies in the box office each year for 15 years from 2005 to 2019. According to the result, the number of screens increased steadily every year, and the screen concentration became very high. For the top 100 movies, it increased from 12% to 30% of the total screen. It became higher in the case of the top 10 movies. As the number of screens increased, multiplex assigned more screens to one movie. Multiplex's screen allocation continued to increase, with one movie taking up more 60% of the total screen. This became more serious after 2011 and 2012. Market share of the top 100 movies accounted for about 95% of the total box office performance, even though the number of released movies is about 3,000. Whether multiplex preferred Hollywood movies or not, its screen assignment was found to favor Hollywood movies over Korean ones. In the case of film nationality, both Korean and Hollywood movies accounted for 90.7%. Two countries had a market share of 96.6%. There was no single side except Korea and the United States in the top 10. The increase in the number of screens deepened the concentration in screen allocation. The concentration in the screen allocation led to the concentration of consumption. The Korean film market is the case where the increase of movie screens did not create a diversity of supply and consumption. It also did not affect the diversity of film nationality. This research reveals that supplied concentration and consumed concentration are positively correlated, and that the former is a little lower than the latter.

• 한국HCI학회:학술대회논문집
• /
• 2007.02b
• /
• pp.728-736
• /
• 2007

P2P 파일공유는 1999년 처음 등장한 이래 저작권 침해로 디지털 콘텐츠 시장을 파괴하는 '해적'으로 간주 되어왔다. 하지만 최근 들어 P2P 시장의 산업적 가능성을 새롭게 주목하는 움직임이 나타나고 있다. 아울러 학계에서는 P2P의 경제적 영향력을 공급자 편향의 시각이 아닌 소비자 측면을 포함한 균형적 관점으로 바라보기 시작했다. 본 연구 역시 균형적 관점에서 P2P를 바라보려는 접근법의 일환으로, P2P 영화파일 공유 이용자들의 영화소비패턴을 실증적으로 살펴보고자 하였다. 실제 P2P 영화파일 공유 이용자들에 대한 설문결과, 이용자들은 단일한 영화소비성향을 가지고 있지 않았으며 다운로드와 극장 관람빈도가 모두 높은 이른바 '얼리어답터'형과 다운로드를 극장관람의 대체재로 여기는 소위 '해적'형이 공존하고 있었다. 이 중 그간 산업계에서 우려하던 해적형의 비율은 10% 정도로 낮았고, 대부분의 P2P 이용자들은 오히려 일반 극장 관람객보다 더 적극적으로 극장소비를 하는 사람들로 영화산업에 긍정적인 기여를 하는 것으로 밝혀졌다. 이러한 소비자 분석결과는 향후 본격화되고 있는 P2P 다운로드 유료화 시장에 대한 전망을 밝게 하는 것으로, 현재 유료화에 있어 가장 중시해야 할 것은 불법 무료 다운로드에 대한 경계가 아니라, 소비자 편의적인 시스템의 개발임을 시사한다.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.5
• /
• pp.91-97
• /
• 2019

The movie Lolita is directed by the famous director Stanley Kubrick in the United Kingdom in 1962. Due to the movie theme, it produced a great social dispute at that year. Lolita was Stanley Kubrick's first independently produced film. It tells the story of the abnormal love between Professor Humbert from Europe and his stepdaughter Lolita. Throughout the film, it shocked people by feeling honourable and aesthetic although the theme is about commit incest. The director also completely shown the social reality of the United States in a black humor irony method. By the meantime, the lush tragic feature of the film also strongly infects the audience. Current studies on the movie Lolita mainly focus on the following aspects: firstly, the black humor techniques of director Kubrick's movies, secondly, the parody techniques of the movie, and thirdly, the differences between the original novel Lolita and the adapted movie. In the American society where consumerism constitutes the mainstream, instead of sticking to traditional moral concepts, people pursue material enjoyment. Based on the consumerism theory, this paper analyzes the social reality revealed by the movie Lolita, presents such typical characteristics of the consumerist society as hedonism and broken family relations, and explains how the consumerist society leads to Lolita's tragic life.

• Journal of the Korean Society for information Management
• /
• v.31 no.4
• /
• pp.161-178
• /
• 2014

Recently, many information services allow users to collaborate to produce and use information. Sharing information is also important for users who have similar taste or interest. As various channels are available for users to share their experiences and knowledge, users' data have also been accumulated within the information services. This study collected movie lists made by users of IMDB service. Co-word analysis and ego-centered network analysis were adapted to discover relevant information for users who chose a specific movie. Three factors of movies including movie title, director and genre were used to present related movie information. Movie title is an effective feature to present related movies with various aspects such as theme or characters and the popularity of directors affects on identifying related directors. Genre is not useful to find related movies due to the complexity in the topic of a movie.

• 한국HCI학회:학술대회논문집
• /
• 2007.02b
• /
• pp.63-69
• /
• 2007

트레일러는 2분 내외의 짧은 시간 동안 관객에게 영화의 장점을 소개하여 영화를 소비하게 하는 일종의 영화 광고이다. 인터넷 보급과 스트리밍 기술의 발달은 비교적 용량이 작은 트레일러의 소비를 확산시켰다. 전에 비해 관객이 트레일러를 접하게 되는 경우가 많아지고 있으며, 이로 인해 트레일러 또한 작품 흥행에 영향을 끼치는 중요한 요소로 인식되고 있다. 이에 본 연구에서는 트레일러에 대한 수요 증가와 마케팅에서의 중요성 증가에 맞춰 사례 연구를 통해 효과적인 트레일러 스토리텔링 구조에 대해 분석하였다. 먼저, 영화의 메타정보, 캐릭터, 배경, 사건, 분위기, 기술력 등의 애니메이션 스토리텔링의 주요 요소를 도출하고 몬스터 주식회사(Monster Inc., 2001), 니모를 찾아서(Finding Nemo, 2003), 인크레더블(The Incredibles, 2004) 등 픽사 애니메이션 3가지 사례에서 이들 요소가 등장하는 시점과 비중을 분석함으로써 스토리텔링의 전체적인 구조를 파악하는 사례 연구를 수행하였다.

• Journal of Korea Fair Competition Federation
• /
• no.116
• /
• pp.2-6
• /
• 2005

스크린쿼터는 문화적 다양성을 지키기 위한 수단으로서 통상협상의 대상이 아니라는 것이 국내 영화인들의 지배적인 생각이지만 순수예술과는 달리 대중을 상대로 하는 영화에 있어서 문화적 다양성이란 창작의 다양성보다는 오히려 소비의 다양성 확보에 더 큰 비중이 두어져야 한다고 본다. 그러므로 한국영화의 경쟁력 확보를 위해 소비자들의 영화선택권을 제한해 온 스크린 쿼터는 더 이상 유지되어야 할 근거가 없어졌으며, 만일 스크린 쿼터의 폐지나 축소에 따라 외국영화의 국내시장 독점이 문제된다면 이는 시장경제의 파수꾼인 경쟁법에 맡겨야 할 것이다.