• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2014.11a
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• pp.186-189
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• 2014

그 동안 오디오 기술은 채널 개수, 해상도, 매체의 특징에 따라 구분되어 발전해 왔다. 그러나 채널 개수에 있어서는 5.1 채널을 정점으로 가정에서의 설치 및 유지의 어려움으로 인해 시장에서의 고전을 면치 못하고 있다. 최근 영화 사운드 시장에서 돌비 ATMOS, IOSONO, AURO3D 등 잇단 객체기반 오디오 기술이 도입되면서, 방송 오디오 시장에서도 도입이 검토되고 있는 실정이다. 이러한 오디오 기술의 변화는 유연성이 결여된 채널기반 오디오의 기술 발전 및 시장 성장의 활로를 개척하는 기회가 될 것으로 전망된다. 따라서, 본 논문에서는 UHDTV, 무안경 3DTV, 파노라마 영상, 홀로그램 영상 등 차세대 TV 방송 매체에 활용할 수 있는 UHD 오디오 기술의 콘텐츠 포맷 및 재현 기술에 대해서 논하고 향후 전망을 고찰해 보고자 한다.

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.156-169
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• 2015

The negative awareness of a multiculturalism rises around the world because of various problems that happen with the multicultural phenomenon. Nevertheless, the reason we uphold multiculturalism is that multicultural phenomenon is an inevitable consequence of capitalism and the decline of multiculturalism might imply danger of bringing about radical nationalism. This study assumes that a distortion of multiculturalism is the result from a myth of romance film which affects the public perception as an integral component of a discourse. Grounded upon monomith, the narrative structure of romance film of which motive comes from courtly love makes people miscomprehend the value of multiculturalism because of the multicultural factor as substitute for romantic obstacle. As the character of romance movie is likely to be formed focusing on superficial images and denotations, this tendency causes the hierarchy and the representative minority drives out the rest of other minorities. The attempt to arouse people's tolerance and understanding of the other is frustrated both by the structure of binary oppositions and the clich$\acute{e}$.

• Digital Contents
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• no.12 s.91
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• pp.40-45
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• 2000

반도체 기술의 발전에 따라 하루가 다르게 디지털 콘텐츠 시장이 변화하고 있다. 여기에 발맞추어 우리 소비자 니즈도 무지개의 빨주노초파남보처럼 다양하게 요구되고 있어 변화하지 않음이 이상할 정도이다. 그래서 다양한 목소리를 내고 있는 60억 지구촌 소비자를 위해 진수성찬을 준비하면서 지난 호에는 7대 메뉴가운데 방송, 영화, 게임 등 빨주노만으로 성찬을 만들었다. 이번호에서는 남은 초파남보로는 인터넷, 위성교육, 모바일 콘텐츠, 그리고 인터넷 광고 등으로 마저 잔치상을 준비할까 한다.

• Digital Contents
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• no.10 s.149
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• pp.24-25
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• 2005

남중수 KT 사장은 지난달 7일 서울 프레스센터에서 취임 후 첫 기자간담회에서 민영 2기 KT의경영기조로내세운‘ 원더(Wonder) 경영’을전면에내세우며특유의경영론을밝혔 다. 남사장은실제로이날‘ PCS 재판매시장점유율6.2% 동결’, ‘ 국내1위영화사인싸 이더스지분출자를통한디지털콘텐츠시장진출’등획기적인경영목표들을발표했다.

• The Journal of the Korea Contents Association
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• v.14 no.7
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• pp.386-394
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• 2014

Entertainment Industry, with high productivity of added value, is noticed as a major industry leading global economy. Thus the government has been constantly attempting to devise various plans for developing entertainment industry, but the plans are mostly come out according to currently faced issues rather than considering the whole industry interior interaction. We are mainly objective to find a ground for estimating the current entertainment industry status. For this, we borrowed the concept of 'maturity' from various capacity maturity estimation tools. We also analyzed Korean film industry as a representative entertainment industry case to find what and how government intervention has affected on the industry.

• Digital Contents
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• no.5 s.132
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• pp.22-27
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• 2004

게임, 포털 등 디지털콘텐츠 시장을 주도하고 있는 분야에 대한 인수합병(M&A)이 본격화되면서 국내 디지털콘텐츠 시장이 뜨겁게 달아오르고 있다. 업계에서는 이제 과거와 같이 킬러콘텐츠 1~2개로 업계 선두권을 유지할 수 있는 시기는 지났으며, 다양한 분야에 대한 통합 콘텐츠를 가진 대기업형 콘텐츠 기업 시대가 도래할 것이라는 전망이 대두되고 있다. 실제로 그간 영화와 방송, 쇼핑 채널 등을 운영해온 CJ그룹은 플레너스를 인수하면서 전격적으로 온라인 시장에 뛰어들었고, SK는 지난 2002년 라이코스에 이어 지난해 싸이월드까지 인수하면서 자사의 포털사이트 네이트닷컴을 단번에 업계 3위권까지 올려놨다. KT그룹 역시 최근 KTH를 중심으로 한 콘텐츠 사업강화를 위해 M&A를 고려하고 있다고 밝히고 있다. 최근 디지털콘텐츠 기업들을 둘러싼 M&A 움직임을 통해 시장구도의 흐름을 살펴봤다.

• The Journal of the Korea Contents Association
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• v.13 no.5
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• pp.82-89
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• 2013

The phase in digital technology expedited low-budget digital film productions in the Korean film industry; hence the international film festivals circuit became the launching pad for Korean directors as they built their reputation and careers around the critical acclaim. Pieta (Kim Ki-Duk)'s Claim on Golden Lion prize at the Venice Film Festival in 2012 would be one of the splendid achievements - the festival is considered to be one of the top the international film festival. However, the increased volume of the low-budget digital film productions are not necessarily proportional to the growth in the quality of the productions. The drawbacks to the production system appeared to be the underlying cause. In attempt to approach the issue, this article explores the production system from 2000 until now. It is illustrated that the value chain model has been transformed from general ones into vertical & horizontal integrated ones. A notable example of successful indie bands-around Hongik university area-, as well the analysis on the low-budget hit productions, especially from the mid-2000's, are introduced as the case studies. The strategies that led the success, such as subsidies policy, the tax benefits on investment firms and production companies, and the aid in international film festival submissions on low-budget digital film productions, are thus examined with further suggestions.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.53-62
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• 2019

In recent years, South Korean has made a globally acknowledged achievement in movie industry. In terms of Art, films produced in South Korea obtained lots of awards in international movie festivals; in the business field, Korean movies are swiftly occupying the Asian or even the world film market. Extraordinary films with good reputations and high box office records are frequently launched and induced to a trend, which then forms into a cultural phenomenon and attributes to an important, major force in the so-called "Hallyu" culture. This, in part, benefits from the massive support of Korean government's cultural policies, and is also a product of the high degree of cultural consciousness of Korean movie producers. The Korean cultures, customs, and the underlying cultural elements of the East, that are presented in these movies, satisfy the audience and appeal their fondness. The Princess and the Matchmaker is a South Korean period romantic comedy film directed by Hong Chang-pyo and starred Shim Eun-kyung and Lee Seung-gi. The movie was presented on Feb 28th, 2018. It tells a story of Seo Do-yoon, the most proficient saju (fortune-teller) expert of the Joseon Era who selected a husband for Princess Song-Hwa based on her "fortune eight letters" (specifically, the time, day, month and year of her and her husbands' birth, normally in eight letters), in a hope of alleviating the rage of people following years of drought, and thus to resolve a national crisis. This paper takes The Princess and the Matchmaker as an example, from the aspects of cultural state, system, behavior and mentality, to analyze the traditional customs such as "fortune eight letters", "marriage by match" and the cultural concepts behind these phenomena, in order to explore the ways and methods of traditional culture in the modern cultural and artistic form of film.

• Cartoon and Animation Studies
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• s.33
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• pp.293-315
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• 2013

The number of French movies imported to and released in S. Korea is constantly increasing. All French movies released in Korean theatres, however, are not a great success. For the domestic film market and audiences, the idea French cinema is generally equivalent to 'diversity cinema' or 'arthouse films' is common notion. In this respect, French movies introduced throughout the country would be culture product into which one can read other cultural significances different from that of domestic cinema, and also serve significant cultural value to understand diversity in cinema, for domestic audiences. However, it could be said that French movies, in common with Hollywood films, obey rules in the film industry and needs for audience trends. In this content, what the researchers want to do is to analysis the tendency of the domestic audience reception and main causes of commercial success in the domestic film market, analysing Taken produced in France. The analysis, most of all, suggests the consideration for the film industry beside the notion of cultural diversity in cinema, as imported films are released in the domestic theatre. For this, the study examines the promotional strategy the french cinema perceived generally as the arthouse film applies extensively, analysing on Taken, and inquires into factors of commercial success, using SWOT Analysis. This study, the first of all, (briefly) examines what audiences consider when they choose a film to watch, articulating (generally) the choice-and-consume modality of the domestic audience. And then, it examines dominant factors Taken was a commercial success in domestic film market, even though the film is a french film, using SWOT Analysis. On the basis of SWOT Analysis, finally, this study draws up promotional plan for Taken, and shed new light on dominant preconditions, when the foreign cinema would be imported from the now on.

• Journal of the Korean Geographical Society
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• v.41 no.3 s.114
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• pp.245-266
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• 2006

This study aims to explain the emergence of Gangnam Region of Seoul as a new cluster of the Korean film industry in the context of its history of growth, recent development characteristics, and its production system. Statistical analyses of Korean industries and in-depth interview surveys to film producers were conducted. The results of the analyses show that there has been obvious tendency of film makers' move from Chungmuro, a traditional cluster of the Korean film industry, to Gangnam and many births of new film makers in Gangnam. This new cluster, however, is operating on informal networking between film makers and related personnel, not on formalized production system composed of specialized functions and labor market. Therefore, it can be called as loosely-articulated cluster. This form of cluster has much to do with production milieu of Gangnam, such as advantages of obtaining information and consumer trend, diverse atmosphere which makes it easier to meet diverse people, favorable environment to embed creativity and fresh idea, etc. This trend of the film industry to orient a specific area can be explained in conjunction with the uniqueness of the film industry, such as uncertainty, project-based work, generation gap between film makers, participation of large companies or increasing size of investment.