• The Korean Publising Journal, Monthly
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• s.254
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• pp.28-28
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• 1999

스펜스의 "천안문"은 고난에 찬 중국현대사를 마치 한편의 소설이나 영화처럼 생생하게 소개한 저작이다. 이 책이 지식인 중심으로 지난 백년간의 중국혁명을 서술했다면, 이스트만의 "중국사회의 지속과 변화"는 4세기에 걸친 근대 시기의 사회 경제사를 추적한다.

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

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.655-664
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• 2013

The Korean film has not been on the board of Korean waves due to the limitation of the media accessibility. However, N-screen gives Korean films the chance of being on the board of Korean waves, especially in Asian country which have shared cultural codes. This study aims to demonstrate the possibility of Korean films in asia based on the analysis of Korean film viewers' motivation and media usage. For this purpose the 330 data were collected among Korean, Japanese and Chinese from Feb, 23rd through April, 5th in 2013. The results show the followings; 1) Korean viewers have the strong preference of cinema theater to other media such as PC, VCR/DVD player, tablet PC and mobile phones. Whereas, Japanese viewers prefer VCR or DVD players and Chinese viewers prefer PC and mobile phones. 2) In terms of viewing motivation, social utility is most important to Korean viewers while diversion to Japanese and Chinese viewers.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.83-89
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• 2019

Zhang yimou's film "the shadow" adopts a lot of modern literary symbolic content in the story structure. The novel has been greatly modified, abandoning the setting of the original work and making up the historical background of the story, thus completing the discourse practice of aerial literature rather than historical literature. The film expresses the historical story poetically and even writes the personal mind. In this way, the audience's sense of substitution is increased, and a large number of traditional Chinese cultural symbols are adopted visually. In terms of clothing, the most traditional is sought, which advocates loyalty to history, and adds cultural connotation and depth. The audience can feel the bold and unfettered artistic creation spirit of the main creator, as well as the novel and unique visual expression style, which makes his works have both traditional visual perception and modern story content. The combination of traditional vision and modern drama forms a new visual and cultural experience.

• Korean journal of communication and information
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• v.34
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• pp.196-243
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• 2006

The popularity of Korea pop culture, which called as the name of "Korea wave", has started to spread out in China and other Asian states from late-1990's. The study about "Korea wave" until now, however, have prevailed within an economic point of view. So, I would like to clarify that this dissertation raises a question in exiting argument and explains the identity of "Korea wave" by investigating the details of pop culture contents of Korea, and understanding of chinese receiver. It shows that chinese receiver, watching the movie , has estimated in the affirmative viewpoint after I have analyzed a reply of movie web-site in China. The main features of this analysis prove that there are a lot of good estimation when chinese receiver have seen that movie because it has been well-matched with emotion and fun of story and attraction in the movie. In that order, Some Chinese netizen evaluated that there are some negative point of view as the main actress has a strange and crazy behavior. I have also found that Korea pop culture contents has not given to them good image and chinese receiver had a tendency to view objectively to classify with strength and weakness. Analysis to contrast understanding of Chinese netizen with Korea netizen showed that Korea netizen emphasized fun of story, however, Chinese netizen showed that they had a lot of opinion to be fresh and realistic relatively. In conclusion, I would like herewith to identify that there are some differences between Chinese netizen and Korean netizen after contacting the movie. The reason has showed that understanding about the same object can be a great deal of various consideration in two more diverse cultures which have many different social-cultural and historical situation.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.131-138
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• 2019

The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can't express it. The artistic effect conveys the information content that the story itself can't convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People's subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.

• 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.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.319-320
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• 2016

중국 영상콘텐츠시장은 영화산업의 급성장과 더불어 애니메이션 산업 역시 성장세를 보이고 있다. 2015년에 상영한 <몽키킹: 영웅의 귀환>은 956억 위안화의 흥행 신화를 창조했고, 네티즌 관객들의 열렬한 사랑과 언론의 주목을 이끌어냈다. 그런데 2016년 1월에 상영한 극장용 애니메이션 <리틀 도어 갓즈>의 경우, 흥행수익이 7천만위안에 머무르고 있다. 이는 중국 애니메이션 영화 제작 기술이 많은 성장을 이루었지만, 미국의 경우와 비교하면 여전히 부족한 점들이 존재함을 보여준다. 본문에서는 중국 극장용 애니메이션 <리틀 도어 갓즈>의 조명 연출에 초점을 맞추어, 중국 극장용 애니메이션의 조명 특징을 연구하고 발전 방향을 모색하려한다.

• The Journal of the Korea Contents Association
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• v.9 no.2
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• pp.163-172
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• 2009

As cultural contents are rising to the surface, the contents and interests regarding the industries that utilize the culture become higher than any other times. Culture is performed with memory, and the culture that excludes memory cannot exist. The memory exceeds a dimension of the individual and operates with an assembled and social memory. Furthermore the culture requires media to put memories inevitable. Therefore, recent image texts are coming to the attention as new storage media. So this essay analyzed the meaning of 'memory' as social-cultural memory by putting the sixth generation Chinese movies to the center and restoration of image text that puts memory in it. And also, I examined the cultural meanings of 'individual memories' as the 'counter memory' and tried to find the possibility of junction between memory industry and the contents. I focused on the sixth generation Chinese movies because these movies made remarkable progresses in the international film festivals though they were made in 'underground' by objecting to 'official memory' proposed by the Chinese government.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.377-383
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• 2023

The movie <Yin Ru Chen Yan> is evaluated to reflect the rural reality of China's northwest region. Although the film also contained the farmer's unique sincerity and pure love, many problems were also raised. The specific issues raised are as follows. First, he accused young Chinese rural people who could not express their intention properly at the time of marriage.This can be said to be largely due to the lack of proper education, medical care, and welfare benefits for a long time. Second, he criticized the rural housing policy that deviated from reality. It warns that unilaterally providing apartments in the city without considering regional characteristics and farmers' situations could be counterproductive. In the movie, the main character abandoned livestock that he thought of and cared for with his family and did not move his residence to an apartment. Third, he criticized the materialism prevalent in rural areas. He criticized the phenomenon of not respecting a human being to solve everything with money and even to receive government housing compensation. In this sense, in order to solve the true Chinese Samnong problem, macro-promoted policies and micro-policies that can encompass some underdeveloped rural areas should also be implemented.