• The Journal of the Korea Contents Association
• /
• v.17 no.4
• /
• pp.132-146
• /
• 2017

Over the years(1971 to 1987), only 20 Korean film production companies had been granted the exclusive rights to make Korean films in Korea and to import foreign films with a quota system. They had been making trashy Korean movies to secure import quotas of foreign films. Newcomer's entry of market had also been limited and the growth of Korean films through innovation had been hampered. In the same period, The annual number of Rookie director is 10, the portion of debut films of all Korean films is 10.62%, and the audience portion of debut is only 10.5% of Korean movie audience. From 2004 to 2016, total number of rookie directors is 874, and 61.72% of 1,416 directors who made his debut over the 46 years from 1971 to 2016. This is far more than the number of directors who debuted for the last 32 years. From 2004 to 2016, the annual number of rookie directors is 62.15 and their debut film occupies 39.58% of the total amount of Korean movies released and 32.8% of the audience number. Since the full opening of the domestic market to foreign films industries in 1988, the liberalization of independent film production in 1999, as a result of innovation of a competitive system, the Korean movies have been loved by audiences. However, there are concerns that the decline of the screen quota in 2006, the monopoly of the 4 major distributors, increase in indie movies and Semi-adult movies for VOD, could be the potential threat for future innovation in Korean cinema.

• The Journal of Society for e-Business Studies
• /
• v.18 no.2
• /
• pp.241-255
• /
• 2013

In this study, the relationship between movie ticket reservation rates and Internet buzz share is analyzed. The correlations between movie ticket reservation rates and Internet buzz share in blogs, Internet cafes, news site, and Internet video in NAVER which is a representative Internet portal in Korea are analyzed empirically. The results show that there are positive correlations between buzz shares and movie ticket reservation rates. In particular, before movies at the box office, the correlations with Internet video is relatively higher than those of other channels, and after movies at the box office, the correlations with blogs and Internet cafe are relatively higher. Also, we can find that the correlations between Internet buzz shares on movies and movie ticket reservation rates are different depending on time lags and Internet channels.

• The Journal of the Korea Contents Association
• /
• v.15 no.5
• /
• pp.151-167
• /
• 2015

Korean movie maintain their market share from the highest 59.7% to the lowest 42.1% during the last ten years in Korea. However, 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. With Gini-Index, concentration of film admission has been deepened in intensity from 0.53 in 2004 to 0.85 in 2014. Using Thomas Piketty's method, Movie attendance proportion of Highest 10% of the box office ranking for 2014 sharply increased to 71.2% from 30.28% in 2004 and the lowest 50% of box office ranking dropped from 11.03% in 2004 to 0.08% in 2014. Concentrations of the number of Screen, Screening, the seating Capacity have the same analogy with the polarization of film admission. However, concentration of seating share has maintained a modest increase from 0.22 in 2004 to 0.38 in 2014. This analysis shows that polarization of Korean movie box office performance is not the sole result of Natural selection of market but the result of the monopolies of distribution companies and Multiplex chains.

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

• The Journal of the Korea Contents Association
• /
• v.16 no.6
• /
• pp.576-588
• /
• 2016

The main objective of this study is to investigate the overseas performance of CGV in order to boost Korean wave and movie platform competitiveness. The focus of this study is to on how CGV may enhance the market share of china market, emphasizing the entrepreneurial orientation of top management team and differentiated entrant strategy based on Korean wave. This study suggests key factors in the china movie platform market expansion process of CGV. In order to analyze this mechanism, we employ a case study method design. The case study results show that there are differences of CGV strategy in movie platform characteristics and the important key factors of growth depending on market situation. The most important thing is that entrepreneurial orientation of top management including differentiated entrant strategy and Korean wave-oriented vision enhance between brand loyalty and market share in china market. In addition, growing overseas impacts of CGV support on Korean wave entertainment and globalization of movie platform industry. Contributions and implications for the academic and managerial field are discussed.

• 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.

• Venture DIGEST
• /
• s.71
• /
• pp.10-11
• /
• 2005

영화에서처럼 지문이 신분증을 대신하는 시대가 왔다. 그리고 그 중심에 우뚝 선 니트젠은 국내 지문인식 시장 점유율 40%를 고수하는 선두기업이다. 배영훈 대표의 경영전략에 힘입어 글로벌화를 위한 힘찬 시동을 건 니트젠의 개척정신은 다른 기업들에게 신선한 충격을 안겨주고 있다. 세계에 맞서 당당히 니트젠의 이름을 알리고 있는 배영훈 대표를 만나보자.

• Digital Contents
• /
• no.10 s.149
• /
• pp.24-25
• /
• 2005

남중수 KT 사장은 지난달 7일 서울 프레스센터에서 취임 후 첫 기자간담회에서 민영 2기 KT의경영기조로내세운‘ 원더(Wonder) 경영’을전면에내세우며특유의경영론을밝혔 다. 남사장은실제로이날‘ PCS 재판매시장점유율6.2% 동결’, ‘ 국내1위영화사인싸 이더스지분출자를통한디지털콘텐츠시장진출’등획기적인경영목표들을발표했다.

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

• 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.