• Korean journal of communication and information
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• v.59
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• pp.116-137
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• 2012

What is 'nation' and 'nationalism?' What does 'korean nationalism' mean? And how is korean nationalism represented through a chain of films called 'the korean blockbuster films?' The purpose of this study is to answer to these questions. The characteristics of the korean blockbuster films have been studied for quite a long time and the researchers have agreed with the context about nationalism in a large sense. However, majority of the studies ends up in the journalistic or impressionistic criticism without any theoretical discussion. Few theoretical criticisms also have founded on the formation process of nation of the Western Europe and their nationalism. Hence I would like to add the discourse of korean nationalism and to seize more accurately the social/cultural/historical peculiarity of the korean blockbuster films. In addition, as non-nationalist narratives have recently emerged, korean blockbuster films are entering to the evolution process. On this, the significance of this study seems to exist in providing a cornerstone to the expected evolution theory of the korean blockbuster films by means of complementation and reestablishment of nationalism of their first generation. and , presenting socio-historical peculiarity of the Korean nation, are examined by the close textual analysis.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.45-55
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• 2006

Korean blockbusters are the works finished by the dialectic of the meeting and collision of two cultures or H. Bhabha's cultural hybridization. They represent things Korean and Western, and yet their borders are demolished to create a new complicated mixture. Typical examples are Swiri, JSA Silmido Taegukgi Whinalimyu, containing a special Korean situation of division ideology and expressing an extremely Western style of production. This thesis will study the present status of Korean film aesthetics through the cultural hybridity.

• Digital Contents
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• no.9 s.136
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• pp.38-39
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• 2004

캐릭터플랜이 3년동안 준비해 내놓은 한국형 애니메이션‘망치’가 할리우드 블록버스터를 깼다. 할리우드 블록버스터의 틈바구니 속에서 당당히 주요 개봉관을 꿰차는 성과를 거둬 주위를 놀라게 했다.‘ 망치’는 8월 개봉과 함께 가족 중심의 관람 문화를 조성하면서 상당한 성과를 거둬 국내 애니메이션의 미래를 밝게 했다. 개봉 전부터 높은 관심과 해외 수출 등 큰 호응을 얻어왔던‘망치’의 제작사 캐릭터플랜 식구들을 만나 그들의 성공비결을 취재했다.

• The Journal of the Korea Contents Association
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• v.8 no.11
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• pp.115-124
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• 2008

My former thesis was about the present status of Korean film aesthetics of Korean blockbusters through the cultural hybridity. Now this thesis focuses on hybridity and tragedy in Korean blockbusters from the postcolonial perspectives. Typical examples are Shiri, JSA, Taegukgi containing a special Korean situation of division ideology and expressing an extremely Western style of production. These movies hardly provide any historical causes, critical explanation, or vision beyond the discourse of national tragedy. They simply supply sentimental feeling of sympathizing with the misfortune of heroes in the course of national suffering. Therefore, these movies shows limitation not to accomplish postcolonial resistance.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.204-214
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• 2011

This article attenpts to analyze, from the perspective of post-colonialism, 'Goemul'(English title, The Host), the Korean blockbuster movie that scored the greatest box-office success in the history of the Korean cinema. As Goemul eagerly copies the monster movie, a representative genre of Hollywood movies, it has close affinity with Hollywood blockbuster movie in many repects. At the same time, however, it also contains a resistance discourse that criticizes and mocks colonial of Korean society under American influences. This movie successfully carries out a post-colonial cultural translation that transforms mimicry into resistance to colonialsim. Hence, this artcle focuses on how Goemul borrows many aspects of the Hollywood monster movie but goes beyond the simple copying of it to reach post-colonial signification subverting the existing cultural regime.

• The Journal of the Korea Contents Association
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• v.15 no.5
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• pp.560-569
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• 2015

Crowd funding is the method of raising money for a project, companies from a large group of people via the Internet, in return for future products or equity. Kickstarter is the largest and most successful crowdfunding site where creative projects raise reward based funding. Drawing on dataset of 80,267 projects with combined funding over $1.3b from 8.1m people, this paper suggest that backer select project based on their preference on the project, instead profitability of the project. It suggests that well-established platform and big size of network increases the chance of success of the project due to a ripple effect and blockbuster effects. Clear communication about the project's idea and goal is highly correlated with success. Regular communication on the project site, such as by constant progress updates, helps the success of the project. Equity-based crowdfunding is emerging as an innovative means of raising capital for businesses, so it has been receiving a lot of attention and expectation from the government and the market. The findings of this paper and others will help to get some understanding and insight into equity-based crowdfunding. However, Kickstarter differs from equity-based crowdfunding in the goals of the backers. Kickstarter's backers are not investors, they are contributors. To understand equity-based crowdfunding, the subject will need further study.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.185-190
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• 2019

Historically, the representation of the colonial period has responded closely to the policies and political conditions of the time. The Korean blockbuster , which links the genealogy of Manchuria Western, adopts a safe nationalism frame, upgrading the genre's narrative typology to colorful action and spectacle, including the Japanese army, the Liberation Army, the good and evil, and the confusion of identity. On the other hand, , which deals with the friendship of the poet and the warrior, treats the mental and internal struggles implied by the power of poetry, without resorting to familiar nationalism and heroism. is a thorough genre of rules. If the visual and sensual pleasures of imaginative resilience beyond the bounds of the law are provided within the Rules, inevitably seeks resistance within the colonial empire's legal system. Political, diplomatic, and economic conflicts between Japan and Korea, which have been continuing until recently, reaffirm the framework of nationalism on the screen.

• Cartoon and Animation Studies
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• s.29
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• pp.209-241
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• 2012

Is a failed blockbuster film? Is there no room for reconsideration of the value of the film in terms of its contents and forms? The purpose of this study is to answer these questions. In 2007, SHIM Hyung-rae's was in the limelight due to the nationalist discourse around the film rather than evaluation of the film itself. In terms of its narrative and formal properties, the film showed the difference from the Korean nationalist blockbuster films. It led to the disaccord and hard-to-understand results of having somewhat disappointed box-office success of 8,500,000 audiences in comparison to the input, of receiving well by a generous part of the audiences absorbed by nationalism, and of getting the critics' cynic criticism of the film's cinematic value. Eventually only provided the cultural battlefield of nationalism, was left as an unnoticed film in the realm of industry and criticism. However, it was interesting that there was a common ground between the film's supporters and the cynic critics. Both sides were being acknowledged that the spectacle of was way out of proportion to the degree that the spectacle was unbalanced with the story unfolding, achieved more than expected. Its spectacle overwhelming the narrative enfever a few audiences, and at the same time, it provided some reasons making critics face away from the film. In this context, the purpose of this study is to examine 's aesthetics that 'the spectacle dominating narrative' or 'the narrative as a pretext for showing spectacle,' leading to discussion of artistic/theoretical/critical value and to find out cinematic value of the film being regarded as a failure. In addition, this study is significant in that it suggests that is a new kind of moving image that it cannot be analyzed with existed critical methods of narrative film criticism; as a result, this study provides the chance to be evaluated through a new conceptual frame of the film. In order to grasp the narratological aesthetics, this study focuses on the concept of trickality that Andre Gaudreault suggests, and Tom Gunning's 'the cinema of attractions,' referring to the spectacle-oriented narrativity or the mode of production displaying the spectacle more than the narrative.

• 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.

• Cartoon and Animation Studies
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• s.28
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• pp.1-25
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• 2012

The rapid digitalization across all aspects of society since 1990 led to the digitalization of cartoons. As the medium of cartoons moved from paper to the web, a powerful visual culture emerged. An encounter between cartoons and multimedia technologies has helped cartoons evolve into a video culture. Today cartoons are no longer literate culture. It is critical to pay attention to cartoons as an "expanded fest" and as visual and video culture with much broader significance. In this paper, the investigator set out to diagnose the current position of cartoons changing in the rapidly changing digital age and talk about future directions that they should pursue. Thus she discussed cases of changes from 1990 when colleges began to provide specialized education for cartoons and animation to the present day when cartoon and Multimedia Comics fests exist in addition to the digitalization of cartoons. The encounter between new technologies and cartoons broke down the conventional forms of cartoons. The massive appearance of artists that made active use of new technologies in their works, in particular, has facilitated changes to the content and forms of cartoons and the expansion of character uses. The development of high technologies extends influence to the roles of appreciators beyond the artists' works. Today readers voice their opinions about works actively, build a fan base, promote the works and artists they favor, and help them rise to stardom. As artist groups of various genres were formed, the possibilities of new stories and texts and the appearance of diverse styles and world views have expanded the essence of cartoon texts and the overall cartoon system of cartoon culture, industry, education, institution, and technology. It is expected that cartoons and Multimedia Comics will continue to make a contribution as a messenger to reflect the next generation of culture, mediate it, and communicate with it. Today there is no longer a distinction between print and video cartoons. Cartoons will expand in every field through a wide range of forms and styles, given the current situations involving installation concept cartoons, blockbuster digital videos, fancy items, and characters at theme parks based on a narrative. It is therefore necessary to diversify cartoon and Multimedia Comics education in diverse ways. Today educators are faced with a task to bring up future generations of talents who are capable of leading the culture of overall senses based on literate and video culture by incorporating humanities, social studies, and new technology education into their creative artistic abilities.