• Proceedings of the Korea Contents Association Conference
• /
• 2018.05a
• /
• pp.389-390
• /
• 2018

중국의 전통민족 문화는 유구한 역사를 가지고 있으며, 중국의 문화 저력은 전지 애니메이션 디자인에 많은 영향을 끼쳤다. 중국 전통 문화를 전지 애니메이션 디자인에 활용하는 것은 이미 오늘날 중국 전통 애니메이션 발전에 많은 영향을 미쳤다. 전통 문화에 대한 학습과 중국 문화와 민간 예술 연구를 기반으로 애니메이션 예술 디자인을 진행해야만 중국 문화의 특성을 갖춘 애니메이션 영화를 연구할 수 있다고 생각한다. 본 논문은 중국의 문화 특성으로부터 시작하여 전지 애니메이션 캐릭터 이미지 디자인에 대한 연구를 진행하고자 한다.

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

• 한국디지털정책학회:학술대회논문집
• /
• 2006.12a
• /
• pp.185-195
• /
• 2006

중국이 강대국이었던 시절 세계시장을 석권하였던 일류상풍으로 비단, 도자기, 차가 있다. 그 중 비교적 가까운 과거까지 세계시장에서 독보적인 정상의 위치를 고수하던 상품이 도자기와 차이다. 이들 상품이 세계시장에서 누리던 역사적인 영화와 쇠락을 마케팅의 4 P's 비추어 살펴봄으로서, 왜 마케팅의 4 P's 전략이 중요한지를 쉽게 깨달을 수 있는 좋은 교육적 사례를 개발하고자 하였다. 또한 이러한 마케팅의 4 P's 전략이 최근 들어 4 C's 전략으로 변화하는지를 일관된 입장에서 고찰함으로서 마케팅 믹스전략의 중요성을 마케팅에 입문한 학생들이 스스로 깨우치게 하고자 하는 것이 본 논문의 목적이다.

• Proceedings of the Korea Contents Association Conference
• /
• 2016.05a
• /
• pp.145-146
• /
• 2016

중국애니메이션은 오랜역사를 간직하고 있다. 다양한 미디어와 연출 스타일을 지니고 있는데, 현재 출시되는 작품들은 전통의 계승보다는 외국의 제작스타일의 영향을 많이 받고 우선시하는 경향이 있다. 이에 전통 애니메이션의 애니메이션스타일을 연구해 보고 현실적인 제작스타일의 대안을 찾아보고자 한다.

• The Journal of the Korea Contents Association
• /
• v.9 no.11
• /
• pp.163-174
• /
• 2009

The first Chinese film maker from Korean ethnicity, Jang Ryul is also the first Korean director from Chinese background. As a diaspora himself, he crosses over two countries, trying to look through diaspora viewpoint at diaspora phenomena widely scattered in Northeast Asia. This paper is written in an effort to closely consider his story and style through 3 films, , , and . The main character in is a Korean Chinese woman, Choi Sun Hee, who sells Kimchi in outskirt of a city. is the story about the relationship between Hangai, a Mongolian man who plants trees in deserted prairie and North Korean mother and son in defection from North Korea. treats a group of characters floating around in Iri, the city that was vanished by the explosion 30 years ago. The first thing of the style of Jang Ryul building the diaspora viewpoint is time, crossing the floating space. The second one is the inversion of on-screen space and off-screen space or center and periphery. The third one is the absence of language. Given the fact that discourses about the identity of East Asia flourish these days, his movies, as the fruit of consistent attempt to search for East Asian identity within the filmmaking process, deserve more attentions.

• Cartoon and Animation Studies
• /
• s.34
• /
• pp.197-217
• /
• 2014

The 1920s and 1930s ushered in "the golden age" of Chinese comics when the comics flourished. Satirical cartoons in modern Chinese comics were popular due to emotional instability and war caused by foreign powers. Among many popular comics, this paper analyzes in the 1920s and in the 1930s which were made into films and dramas. Chapter Two shows that China in the Republican era of China expanded its consumer culture into some sectors like films, novels, magazines and fashion in the 1920s and 1930s. However, more than any other things, this chapter considers from the historical perspective "the golden age" of comics including comic magazine in the 1930s and a history of comic magazines that gained popularity with conventional and common story. Chapter Three explains that social satire cartoons were in vogue since the May Fourth Movement and anti-imperialistic and semi-feudalistic stories in the 1920s were realized in life. It also says that comics that describes the negative sides of its society were popular. Ye QianYu, a cartoonist, portrayed many facets of Shanghai through : the daily life of the middle and lower classes, bureaucratic corruption and sympathy for the working class. drawn by Zhang LePing describes the unfair social system between the bourgeoisie and the proletariat and the gap between the rich and poor through the main character, the powerless and poor orphan. and lampooned the reality of its time in an objective, witty and humorous way in terms of ethics and economy respectively. The researcher chooses to study and which are very familiar to us, because good cartoons, animations and movies stimulate the feelings about our surroundings.

• The Journal of the Korea Contents Association
• /
• v.16 no.2
• /
• pp.96-105
• /
• 2016

This study examined determinants of movie success from foreign countries except the U.S. in Korea. This research is based on analyses of data based on 500 movies between 2004 and 2013. The major results are following; firstly, in terms of movie success, there were significant differences among three attributes including the origin of countries, genres and distributors. Although determinants of movie success from Japan were animation genre and major distributors, they were action genre and major distributors for European countries. Determinants of movie success from other countries was only animation genre. However, there were no any explanation factions for Chinese movies.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
• /
• 2011.11a
• /
• pp.84-85
• /
• 2011

• The Journal of the Korea Contents Association
• /
• v.21 no.2
• /
• pp.1-14
• /
• 2021

Recently, crowdfunding platforms have received attention as one of the content investment platforms for the public. This research attempts to explore the influencing factors on the success of movie euqity crowdfunding project. We use 'number of texts', 'number of images', 'star influence power', 'IP-based movie project', 'movie production stage', 'box office prediction', 'investment capital ratio', 'amount of surplus available investment', 'profit calculation method' and 'minimum investment amount' as independent variables. And we examined how these factors affects the achievement rate of movie crowdfunding. As a result of multiple regression analysis, 'movie production stage', 'investment capital ratio', 'amount of surplus available investment' and 'profit calculation method' have a significant effect on the crowdfunding achievement rate. In addition, the results of this research can be used for reference when planning film crowdfunding projects.

• The Journal of the Korea Contents Association
• /
• v.10 no.2
• /
• pp.155-164
• /
• 2010

This dissertation is considered a historic generation that Chinese film $6^{th}$ director remembers through their life. Also it is figured out historic anguish and hurt how it was remembered and appeared in film. They have made actual films through their efforts which are different from the conventional generation. In addition, between memory and oblivion the time's signification in the history is showed how what way can be represented. It was presented the time's anguish through memory's metaphor in Chinese film $6^{th}$ works. Also, it was shown the existence's reality from dream was losing as memory was hiding between desire and despair. Additionally, the self of daily was expressed to unconcernedly accept reality, and its against the unchangeable world's eye and memory. The $6^{th}'s$ films' desire was expressed passive appearance to accept reality with losing dream in these three things; cannot be reality in the process to figure out own natural character, and appearance to keep traditional character, finally gradually changing reality. When $6^{th}$ directors analysis the history as memory, social repression follows family's repression, family's repression brings personal repression, and then repression changes to desire, finally the life as a reaction could be maintained. In conclusion, personal desire was covered for fantasy, and the overcoming figure was represented. Moreover, Chinese face that $6^{th}$ directors have memorized was presented through these sentiments.