• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.234-255
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• 2013

Korean Academy of Film Arts (KAFA) is the film school run by Korean Film Council (KOFIC). KAFA was established in 1984, benchmarking American Film Institute (AFA) and in order to foster manpower for Korean Movie under the US's pressure of domestic movie market opening in Korea. The Korean Movie market was open to the world by 1987 and suffered from the low Korean-produced movie market share of around 20% in the domestic market from 1987 to 1998. During the last 30 years, KAFA plays the key role in the Korean movie making industry. Of 520 of number of their alumni, the number of directors is 101, 33 of cinematographers, 18 of producers and 21 of professors in universities' film departments. Korean Directors, Bong Joon-ho of (2013) and topped over 10 million domestic admissions to become the most-watched Korean films of all time. Now, with KAFA's relocation to Busan following with KOFIC, their new roles are promotion of the film industry in Busan, recruiting and educating new talented Korean and foreign student filmmakers, becoming an international film school.

• The Journal of the Korea Contents Association
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• v.11 no.12
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• pp.152-161
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• 2011

This study examines characteristics of sports movies between Korea and the U.S. Especially, this paper focuses on three different characteristics including structural, internal characteristics and performance of sports movies. The major results are as follows: firstly, there were similarities between two countries in terms of opening year, genre, classification but movie subjects. More specifically, movie opening years were not related to global sports events. In addition, most sports movies were mainly produced by human genre and all age movie classification. However, in terms of sports subjects, although Korean movies were constructed by baseball game, the U.S. movies were based on football game. Secondly, there were also similarities between both sports movies in terms of external characteristics such as gender difference of hero or heroine, internal story structure and their story sources. Most of sports movies have used real stories as movie story. Finally, although many of the U.S. sports movies recorded the high degree of expenditures, three movies recorded the high degree of movie consumption.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.132-146
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• 2017

Over the years(1971 to 1987), only 20 Korean film production companies had been granted the exclusive rights to make Korean films in Korea and to import foreign films with a quota system. They had been making trashy Korean movies to secure import quotas of foreign films. Newcomer's entry of market had also been limited and the growth of Korean films through innovation had been hampered. In the same period, The annual number of Rookie director is 10, the portion of debut films of all Korean films is 10.62%, and the audience portion of debut is only 10.5% of Korean movie audience. From 2004 to 2016, total number of rookie directors is 874, and 61.72% of 1,416 directors who made his debut over the 46 years from 1971 to 2016. This is far more than the number of directors who debuted for the last 32 years. From 2004 to 2016, the annual number of rookie directors is 62.15 and their debut film occupies 39.58% of the total amount of Korean movies released and 32.8% of the audience number. Since the full opening of the domestic market to foreign films industries in 1988, the liberalization of independent film production in 1999, as a result of innovation of a competitive system, the Korean movies have been loved by audiences. However, there are concerns that the decline of the screen quota in 2006, the monopoly of the 4 major distributors, increase in indie movies and Semi-adult movies for VOD, could be the potential threat for future innovation in Korean cinema.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.226-233
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• 2013

This study examines determinants of film consumption. Using structural equation modelling, this study explores some factors that explained film consumption based on film tastes and information seeking and socio-demographic factors. The major results are as follows: firstly, the major factor for explaining film consumption was individual tastes for films. The higher the degree of tastes for films, the greater the degree of film consumption. Secondly, there were significant relationships between tastes for films and film related information seeking such as internet search behavior and the use of film blogs. More specifically, the use of film blogs partially explained the degree of film consumption. Thirdly, a demographic factor like gender was highly correlated to film consumption. However, an income factor was not correlated to fim consumption. In conclusion, the degree of film consumption was determined by tastes for flims, the use of film blogs and gender factors.

• 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.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.381-393
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• 2010

The purpose of this research is to identify the different determinants according to the types of motion pictures; art film and commercial film. We found that the regression equations of two types of motions pictures are structurally different. More specifically, we identified that the number of screens, viewers' evaluation, and genres have a significant relationship with the performance of motion pictures both in the commercial and art film. However, director, ratings, critics, power of agency, nationality, and the timing of release affect the performance of motion pictures just on the art films.

• Nuclear industry
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• v.26 no.8 s.282
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• pp.45-47
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• 2006

오늘 우리의 삶에서 영화를 떼어놓을 수 있을까? 매일 매일 우리는 영화와 접한다. 영화는 시대를 반영하고 또 영화가 시대를 앞서가기도 한다. 수많은 영화들이 우리 주위에 왔다가 사라져갔다. 그리고 많은 영화에 원자력이 등장하였따. 이번 호부터 원자력을 가지고 영화를 들여다보고 또 세상을 읽어보려고 한다.

• Journal of the Korea Convergence Society
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• v.10 no.9
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• pp.133-140
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• 2019

The Korean Film Council which manages the Film Development Fund carried out a number of projects to support film production, distribution, and film policies. Also, this organization participated in promoting advanced film technology and foreign film location by constituting an incentive support. The projects consist of support for the operation of Namyangju filming studio and the film information system as well. It is necessary to scrutinize the projects regarding support for film production, which is the largest and most important among the whole projects, for continuous development of the Korean film industry. this study reviwed the fundraising status, budget, and support projects of the Center for National Film/Video Center CNC which operates the film fund in France analyzed film production support policy of the CNC. Through this, we verified necessity of stable financing and funding of the Korean Film Development Fund, support for creation of film music and support for overseas filming, and prepared activation plans for film co-production.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.56-65
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• 2014

Most of experimental films have different visual techniques and aesthetic values compared to those of narrative films. This difference makes it difficult to understand experimental films. In order to understand in what ways the experimental film has broken with the convention of narrative film, it is important to examine certain structure of experimental film. The important aspect of many experimental films is the way that they have altered the nature of narrative by changing the way that we perceive the succession of image. In particular, The tradition of American Sturcture film has been the contribution of the experimental film to expand the limits of this rule system and evolve a more personal and organic approach to the continuum of film. This approach has been a method of understanding experimental films and still a useful aesthetic tools both reading personal films and making innovative works.

• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.550-557
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• 2019

The Film Development Fund was established in 2007 to improve the quality of film arts and promote the Korean film and video industry. As a key resource operated by the Korean Film Council, the film development fund provides various projects including support for the promotion of Korean film creation and production, funding in video-specialized investment associations, export and international exchanges of Korean films, and production of small-scale or short films. This study aims to propose ways to reinvent the film development fund, which is in danger of being depleted. Based on such purpose this study examined the status and problems of the current film development fund and reviewed previous literatures and related discussions. Furthermore, the policies of similar overseas organizations for film promotion including French National Film/Video Center (Centre National du Cinema et de l'image $anim{\acute{e}}e$, CNC) and the British Film Institute (BFI) were reviewed to draw a multi-faceted way to replenish the source of revenue for Korean film development fund.