• The Journal of the Korea Contents Association
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• v.21 no.8
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• pp.69-78
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• 2021

With technological development including digitization, movie demand and supply in digital online movie market are increasing. This study aims to explore demand concentration of the digital online movie market, which is characterized by product variety compared to cinemas. Major findings of the empirical analysis on the TV VOD data during the recent seven years(2013 ~ 2019) are as follows. First, the analysis on 1,137 titles reveals that movie demand of theatrical market is more concentrated than that of TV VOD. Second, absolute long tail index of TV VOD, measured by the download number of indie & artistic movies(niche product), is increasing as more such movies are released in the market. However, both relative long tail index, measured by the share of indie & artistic movie demand, and top-ranked movies' share do not show consistent increase or decrease trend. Third, regression analysis exhibits that the relationship between demand concentration and market size is insignificant for TV VOD market. This study might have usefulness in that it provides empirical evidence for the nature of the Korean digital online movie market.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.247-260
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• 2022

In the Korean film industry, 'diversity film' was used interchangeably with 'low-budget film' and 'independent/art film'. As the concept of film is transformed into a multi-platform era that expands online and offline, the discussion of media diversity has become important in the film industry as well. At the same time, the movement to expand the inclusion and diversity of minorities in the film industry is also evident. Recently, the global film industry is developing by accepting inclusive film policies based on research and policies from a gender-perspective on female narratives and creatives. This study suggests policy directions to redefine the concept of diversity in the Korean film industry and to expand inclusiveness and diversity for minorities based on previous studies and discussions on the diversity of various dimensions surrounding the film industry.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.48-55
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• 2014

A new relation between technological changes and arts is begins to create by the modernization of the West. Because the arts in the past that were enjoyed by specific individuals and small number of people are now massively produced via technological development, public acceptance of such arts is now possible. In this study, movement between each frame, which can be the core in animation, is investigated. We can see that the animation's cinematic movement cannot be identified with motions reproduced in live action films, let alone the motions in real world, no matter how the reproduced motions in animation are faithfully made. In the end, while crating the detailed expressions of movement of animation, along with cinema factors, and the continuity of such expressions, we can gradually exert the power of animation art form with enlivened reality that only animation has.

• Cartoon and Animation Studies
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• s.35
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• pp.347-374
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• 2014

The aim of this article is to consider the future of industrialization of Augmented Reality contents focusing on cinematic imagination of films that used Augmented Reality techniques and artistic imagination of Augmented Reality Arts in the 21st century. The film showing future technology through cinematic imagination plays an role in the presentation of future vision important. Augmented Reality Arts show the big picture of future arts, future aspect of society, and future culture by using technically possible present technology. I classified the researched films according to Augmented Reality technique. It is expected that Gesture Recognition will develop with transparent display device techniques, Hologram techniques will be changed into individualized communication styles, Biometrics will be able to evolve into multi-Biometrics, and Wearable Computer will develop in the aspect of physical body augmentation and then industrialize. In Augmented Reality Arts, it seems that the various utilization of avatar will be related to Hologram, the utilization of the physiological phenomenon of the human body will be related to Biometrics, the mixture of reality and virtual reality will utilize display devices through Gesture Recognition, and a new experiment of HMD(Head-Mounted Display) will industrialize with the diversification of Wearable Computer. Augmented Reality contents created through the imagination and representation in the films and arts take a role in helping human life, and, at the same time, show the future image industrialized in the way of combination between human and environment without a medium.

• The Journal of Korean Philosophical History
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• no.39
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• pp.221-235
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• 2013

Through the comparative analysisand inductive research on main creation styles of Chinese, American and Japanese animation films, a conclusion can be given out, which means that the animation film style of each country can hardly be formed without their own traditional painting art, aesthetics habits and ways of thinking. It is these characteristics that form their unique animation film style. America emphasizes realism art, development and utilization of new technology, Japan pays sepcial attention totraditional painting art and comic stories. In business aspect, they bring about different business models relying on the experience of satisfying the diverse needs of domestic and global entertainment markets. When it comes to the content field, they carry forward universal values and meet the individualistic heroismso that a variety of business animation films and art animation films find their ways into the global market and acquire great popularity among audiences from all over the world. Through the comparasion of American and Japanese animation films, a new view to analyze the animation films of China is created. Animation creation is largely based on the need of socialist ideology from 50s to 80s. Even though the purposes of animation film creations returned to satisfying the diverse requirements of commercial markets and audiences, the consequences, such as the break gap of creations and talents, the lack of diverse creative styles and commercial market operation mechanism, sitll affect China's animation films today. Japan found thier position from the American model and became successful. Nowadays, China need find our own creative style and position from American model and Japanese model. And the systematic reformings that are detailed in the government managements, industry standards, internationalized talents cultivation and accumulation are the essential point.

• Cross-Cultural Studies
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• v.50
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• pp.173-196
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• 2018

This study, which works to develop a method of focusing on A Quiet Dream by Zhang Lu, explored the structural differences of films and the changes in Zhang Lu's aim and perspective as noted in films, by a review to grasp his internal changes in texts and contextual factors. In A Quiet Dream, Zhang Lu made a filmic attempt that had never been made in the world of films prior to that date. He tried an aesthetic experiment on how films could reorganize the world, by using the effect of obscuring the boundary between reality and dream in films and generating a new narrative regarding filmic reality, actual reality, and the life and artistic truth of the Diaspora. Generally speaking, the changes in the narrative in A Quiet Dream seem to be his resistance against himself and the Diaspora. Thus, in the discussion about A Quiet Dream, relying on the external factors intervening in the relationship between the subject of creation and films is not a useful endeavor at this time. Consequently, it is noted that after settling down in Korea, Zhang Lu could directly approach the changes in the cultural position of films in multilayered ways, where films were the most dynamic part of his life. Due to the changes in the Diaspora, he could obscure the boundary for the first time in the world of films and experiment with how films could escape develop an interesting perspective that deviated from reality, and made a new goal to show new ideas regarding the individual's awareness of the world.

• Digital Contents
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• no.9 s.136
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• pp.48-53
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• 2004

영화가‘인간의 창조력이 일군 대중 예술 장르’라는 금언은 이제 옛말이 됐다. 21세기에 영화는 점점 첨단 테크놀로지의 경연장이돼 가고 있다. 오늘날 영화에 쓰이는 CG(컴퓨터그래픽)는 순수 기술력으로 도달할 수 있는 스펙터클의 지평을 무한히 확장하고 있다. 영화 이미지가 주는 시각적 쾌락은 기발한 인간 상상력의 실현, 거대한 규모의 스펙터클, 표현의 한계에 도전하는 실험들로 채워진다. 디지털 테크놀로지의 발전은 영화제작자들에게 더이상 자기 검열로 상상력을 제한하는 일 따위는 않아도 된다는 자신감을 심어줬다.

• Journal of Digital Convergence
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• v.19 no.7
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• pp.349-358
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• 2021

In the 1980s, the rapid development of Hong Kong genre films began the myth of Hong Kong's New Wave films, which had a profound impact on Taiwanese films of the same period. Later, two leading film directors, Hou Xiaoxien and Edward Yang, appeared in the process of being influenced by Taiwanese film Ganyu Wave. In this paper, we conducted research on the art style, theme style, film language, and aesthetic narrative methods of films of Hou Xiaoxien and Edward Yang against the backdrop of Taiwan's New Wave era. In addition, the visual characteristics of Taiwan's New Wave films, and the two directors have drawn suggestions on Taiwan's new generation of directors and the Taiwanese film industry, and presented a colorful film creation scheme for the creation and innovation of the new generation of filmmakers.

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.84-86
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• 2004

21세기를 대표하는 종합예술 중의 하나인 영화는 독자적인 문화권을 형성하여 거대한 산업으로 성장하였다. 영화는 패션산업과 밀접한 관계를 가지고 있다. 영화의상은 영화의 극적인 효과를 위하여 사용하는 모든 종류의 복식을 뜻하며 배우가 착용하는 의상과 헤어스타일, 머리장식, 액세서리, 신발, 분장 등은 영화의 내용 전개에 있어서 중요한 역할을 한다. 본 연구에서는 영화 속 주인공들의 스타일이 여성 패션의 흐름을 주도하기 시작한 1950년대에 유행하였던 영화들을 중심으로 영화의상이 담당하고 있는 역할과 한국인의 일상복이 전통적인 의상에서 현대적이고 서구화된 의상으로 변하는데 영향을 미친 요인들을 분석하기 위하여 1950년대에 유행한 미국영화의 분석과 1950년대에 우리나라에서 유행한 복식을 분석하고자 한다. (중략)

• Korea Information Processing Society Review
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• v.11 no.1
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• pp.41-50
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• 2004

영화의 산업적인 가능성은 잘 알려져 있다시피 1900년대 초부터 유럽과 미국에서 확인되었고 이를 위한 많은 연구와 실험이 이루어졌다. 또한 영화가 본질적으로 제공하는 영상언어라는 예술적인 면을 추구하기 위한 노력도 함께 진행되었다.(중략)