• The Journal of Bigdata
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• v.3 no.1
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• pp.63-71
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• 2018

In the last five years (2013~2017), we analyzed what factors influenced Korean films that have surpassed 10 million viewers in the Korean movie industry, where the total number of moviegoers is over 200 million. In general, many people consider the number of screens and ratings as important factors that affect the audience's success. In this study, four additional factors, including the number of screens and ratings, were established to establish a hypothesis and correlate it with the presence of 10 million spectators through big data analysis. The results were significant, with 91 percent accuracy in predicting 10 million viewers and 99.4 percent accuracy in estimating cumulative attendance.

• Venture DIGEST
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• s.71
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• pp.26-26
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• 2005

작년‘실미도’와‘태극기 휘날리며’를 통해 전국 관객 동원 천만의 시대를 연 한국영화계. 이제 한국영화에서 헐리우드를 능가하는 기술력을 보는 것은 그리 어려운 일이 아니다. 그러나 이 기술력은 대부분 미국∙독일∙일본 등 외국장비를 통해 만들어진다. 영화∙영상 관련 장비를 전문적으로 제작하는 드림무비의 이명일 대표는 앞으로 한국영화는 물론, 외국의 블록버스터영화까지 한국 영화장비의 시대를 열기 위해 열심히 땀 흘리고 있다.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.301-307
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• 2017

Once, the faster the digital technology developed, the more provocative obscure commercial film has spread like a trend. Researching the aspect of the successful films, about 10 million audience in 2016, we can find the similarities that only social phenomenon, stands itself without real-existence, which makes public sentiment. I will list up all the problems that I mention above with audience's review and analyze the famous film "the wailing" with big social attention, having 6.8 million audience. I will seek the better way to developthis movie, in terms of artistic dignity and depth as an public-art. With great depth, the realistic application of cultural inheritance, holding mankind common, such as culture, philosophy, religion, history, would be an essential proposition for obtaining cultural emotional empathy from the people in the society. Based on this, the theme and massage from a director, should be expressed in order to be a master piece work beyond time and space in the film history.

• Cartoon and Animation Studies
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• s.42
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• pp.125-150
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• 2016

In the 2000s, Korean cinema maintained the industrial growth on the strength of 10 million audiences and the successful Korean blockbuster. A variety of film materials such as history, politics, social issues, and the division between North and South Korea ideology were addressed in the movies, and one of the movies based on a true story was popular. Accordingly, external size of the film industry has been gradually expanding. Korean public movies have a firm position in the film market, and a diversity of discussion is made as the movies spontaneously get attention. Also, the influence of social media and media which recognized far-reaching powers of public films causes a political and social change, but it also provokes ideology controversy. Objectivity of this study is first to discuss factors and initiating causes that Korean movies have firmly settled as public movies since late 1990s. Secondly, this study considers relation among media, social media. and Korean public film that aroused more arguments on politics, society, and history in 2000s. The powerful influence of films on society not only leads political change but also affects awareness change of audience and the role of social media.

• The Journal of the Korea Contents Association
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• v.18 no.2
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• pp.57-72
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• 2018

Choi Dong-hoon's films tend to have not been well treated academically in Korea. But from the point of view that his works have succeeded in box office and survived in the market for some reason, there seems to be new possibilities to treat them. In this paper, the two movies with ten million audiences, and that are Choi's original scenario and caper film genre are tried to examine the success factors in box office on "making well made story". Often, well-made films have both genre-customary and creative aspects. Choi Dong-hoon's movies are the same. and faithfully follow the rules of caper film genre. At the same time, these two films have complex adaptive systematic creativity, in which multiple characters are self-organizing with their story patterns actively. And since there is a proper coexistence of customary and original aspects in the and , these two films are seemed to be at the edge of the chaos, which is the most market adaptable.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.287-298
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• 2020

The purpose of this study is to analyze the narrative structure and types of films that has attracted more than 10 million viewers ('10 million films') among films released in Korea, and deal with the implications of the current Korean film industry. To this end, this study investigated the relationship between films and their narrative as a product of the film industry. To approach this, We dealt with the features of structuralist analysis and archetype or mythological narrative analysis. For a detailed analysis, a total of 27 films of "10 million films" were categorized using Northrop Frye's original narrative analysis method. As a result of the study, 13 comedy structures, 7 romance structures, 4 tragic structures, and 3 irony and satire structures. It was confirmed that the "comedy" and "romance" structures had a high percentage of all 10 million films, and occupied the top ranks in the box office rankings. In conclusion, this study confirmed the narrative rules and customs of films hitting Korean box offices, and through this, it was possible to examine a rough topography of the film consumption of the public in the Korean film industry. This can be said to provide a clue as to how the narrative of the film should be constructed when producing a film from an industrial perspective.

• The Journal of Bigdata
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• v.4 no.2
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• pp.185-194
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• 2019

In the 100-year history of Korean films, Korean films have grown to more than 100 million viewers every year since 2012, and their total sales are estimated at 1 trillion. It is assumed that the influence on the popularity of Korean movies is related to 2012, when 60% of smartphone penetration rate and 30 million subscribers exceeded. As a result, before and after 2012, changes in movie boxing factor variables were needed, and the prediction model trained as a new independent variable was applied to actual data.

• 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.8 no.11
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• pp.134-143
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• 2008

The significance of the image content industry, as a flagship industry of the cultural content industry, is emerging globally as a high value-added trend. Since the movie industry has diverse related industries along with a positive spillover effect from cultural and economic perspectives, it ultimately strengthens national brands as well as national competitiveness. As a national strategy cultural content industry, the movie industry in each country around the world utilizes its own diverse self-protective systems. The Korean movie industry has emerged as a 10 million-strong movie-goer market; however, in reality, it is vulnerable to high film production costs and utility. The current domestic media market demands a new paradigm through the media industry as a whole; nonetheless, it is inherently limited to past film production and distribution channels. In this study, I seek to evaluate the status quo and propose a new direction for the Korea movie industry.

• Cartoon and Animation Studies
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• s.13
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• pp.163-179
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• 2008

It is no longer an issue that there is a big audience for Korean movies. More than 120 Korean movies are made each year. Many win prizes at film festivals around the world. But the number of animation movies made in Korea is decreasing even though the government tried to revitalize the animation industry in the mid-1990s. The problem is that all Korean animation movies were box-office failures, even though "Mary's Story" and "Oseam" were awarded prizes in world-famous animation festivals. Korean animation movies also face hurdles because of different cultural tastes of Korean audiences and problems with distribution. But there is a tremendous amount of potential and possibilities for Korean animation movies to be box-office blockbusters and artistic successes. There are ways to develop and revitalize the Korean animation industry and make it of the most important businesses and cultural influences in Korean society.