• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.339-347
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• 2019

This is a comparative cultural study on the cultural dimensions of the Korean original film and its Chinese remake film. This research is based on the cultural dimension study by Dutch organizing psychologist Geert Hofstede (1991). In this research I have tried to compare cultural dimensions that are shown implicitly in the original Korean film of "Blind" and its Chinese remake, entitled "The Witness", in terms of the narrative structures.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.10a
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• pp.651-654
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• 2009

This article, by presenting its historical development and experience in different periods of time, introduces a development path of Chinese CG in a justifiable manner.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.357-366
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• 2018

This study analyzed the factors affecting box office performance of 200 movies released at the Chinese theater in 2015. The results showed that main actor power, online rating, production power, and Chinese film were sighificant factors which influenced box office, while the distribution power, genre, IP utilization and integration of production and distribution were insignificant. These results mean that online marketing factors such as the popularity index of the main actors evaluated on the internet and the online rating are affecting box office performances in Chinese theaters.

• Design Convergence Study
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• v.14 no.4
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• pp.193-208
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• 2015

This study is to search a meaning of treagedy to show by the 6th generation through charecter's tragedy in the 6'th Generation Chinese film. For this, it examined an inner characteristic behind of the tragedy's moment and externalized ending in directors' films of the 6'th Generation's representation. The 6'th Generation of Chinese film reorganized newly Chinese film's cultural topography in the 1990s. The 6'th Generation films, which rebelled against the primary melody and the 5'th Generation on the system, is expressed commonly a tragedy moment with the time and space by character's tragedy. Characters of the 6'th Generation in the tragedy moment attempts various efforts to escape from the tragedy moment. However, no one can overcome the wall of reality, and their concealed emotion as keeping it out of the public eye lead that play. The moment that the 6th generation film meets a tragedy, the main character's accumulated tragedy situations begin to unfold all together. A tragedy embodied through : a collapsed tragedy due to the past's wound, a tragedy due to loss of jobs, a tragedy due to a family's departure, a tragedy from a time of chaos, a tragedy of a woman who became a head of a household and other tragedies.

• 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.

• The Journal of the Korea Contents Association
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• v.19 no.2
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• pp.581-590
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• 2019

As the film industry develops in China, movie posters come in various types. Among them, 'concept poster' has been recognized as an important means to form the first impression of a movie at the early stage of promoting the movie. In China, however, there are not many movie posters that have been recognized for their creativity. Accordingly, it calls for research on creative methods of implicitly expressing the content of the movie. This study analyzed visual expressions in the concept posters of HuangHai, who has been recognized not only for commerciality but also for artistry. The results showed that he did not use images of famous scenes and actors in the movie. Instead, he created the implicit image that reflects the main theme of the movie by using Minimalism, color, typography, and pictorial images. This study has a significance in terms of providing fundamental resources for improving movie poster designs in China.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2018.05a
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• pp.289-290
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• 2018

The purpose of this study is to analyze the emotions of color in Chinese historical film 'Hero'. This study was carried out by questionnaire survey on students and ordinary person of 20 ~ 45 years old Korean-Chinese image content students through sensitive scientific research method. It was evaluated on the color in the background, the lighting of the Chinese historical movie 'Hero'. The results of this study suggest that the color of the film may have an emotional impact on the audience.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.157-165
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• 2019

With the deepening cooperation between China and South Korea in the field of film, the ways of cooperation between China and South Korea are becoming more and more diversified. "One text, two productions" film cooperation mode refers to the filmmakers of two countries sharing script resources, using the same script to create films separately. South Korean Extreme Job(극한직업) and Chinese Lobster cop(龙虾刑警) are the products of this cooperation model. The scripts of the two films originated from the China and South Korea story joint development plan(중한시나리오공통개발프로젝트) in 2015. After winning the award, the script were filmed by Korean and Chinese filmmakers. Filmmakers in two countries adapted the script to different degrees according to their respective cultural backgrounds and aesthetic characteristics. The film cooperation mode of "One text, two productions" promotes the development of transnational cooperation and opens up a new way of film cooperation.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.51-61
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• 2013

This Paper aims to explore the key factors that drive box-office success in Korean, Chinese and Japanese film market regarding to the storytelling of the movies. At first, I researched the top 20 movies at the box office of Korean, Chinese and Japanese film market from 2007 to 2011.And then I tried to figure out the key factors for the success and the differences among those countries. Usually the purpose of the movie planning in Korea is for the domestic market. In the profit structure of Korean film industry, it is really hard to focus on the overseas film market. In Chinese film market, recently it has been changed a lot especially film genre. The movie liked to watch is melodrama, romantic comedy movie It is being changed to the comedy genre from the war and martial arts movie. And it is emphasized the importance of the scenario in the film production. They want to watch their lives like a real and dreams at the movie and the movie tries to show this trend. In Japanese film market, they made movies in which TV drama, animation and cartoon according to the O.S.M.U. strategy. The movies like to watch are the blockbuster movies, horror movies, thriller movies and melodrama. Comparing with Korea and China, they like movies which show more fantastic and fairy tale imagination.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.117-124
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• 2020

Chinese youth films fall into the dilemma of continuous development after experiencing rapid development from 2013 to 2017. How to update the creative ideas and methods of the films, arouse the audience's interest in watching and stimulate a new aesthetic experience has become a focal point for the creators who concern about the Chinese film market. "Us and Them" is a successful youth film in 2018. Its creative practice proves that defamiliarization can provide theoretical and methodological basis for the creation of Chinese youth films. Therefore, taking the current situation of Chinese youth film as the research background, treating "Us and Them" as the research object, the defamiliarization of narrative discourse and narrative content used in the film are analyzed. First, the defamiliarization of narrative discourse composed of scenes, characters and plots makes the film "stand out" from the real world. Second, the defamiliarization of narrative content composed of metropolis adoration, self-identity and hometown affection makes the film "stand out" from the existing context. These methods of creation not only meet the needs of the contemporary, but also provide an effective reference for the creation of other youth films. Research will be needed to utilize the elements of defamiliarization through the analysis of the successful case in spite of the time change.