• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.333-334
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• 2014

할리우드는 전 세계적인 영화의 중심지로 유명하다. 90년대에 접어들어 할리우드 영화중에 중국의 문화 요소와 중국인 배우를 사용하는 경향이 점점 많이 지고 있다. 이 논문은 할리우드 영화에서 중국인 배역을 적용한 사례 분석을 통하여 중국인 배역 이미지가 할리우드 영화에서 어떠한 역할을 하고 있는지에 관한 연구이다.

• Journal of Industrial Convergence
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• v.18 no.5
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• pp.36-41
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• 2020

This paper aims to explore and shed light on how the rise of streaming services has been affecting the media landscape in the recent years by looking at the conflicts between the Hollywood film industry and Netflix. It especially examines Netflix's disregard for the theatrical release, as it is the most portentous issue that could reshape the film industry, and Hollywood's opposition to it as revealed through the 2019 Academy Awards where the issue was brought into sharp relief. At the same time, this paper also questions whether theatrical distribution makes a film any more cinematic by examining how Hollywood film production has been largely concentrated on tentpoles and franchises, while Netflix has been producing diverse films often shunned by the studios. In this light, it concludes the changes wrought by Netflix, including its bypassing of the theatrical release, are not likely to be reversed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.131-138
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• 2019

In general, film acting refers to American method or Hollywood method. Hollywood method is a term to denominate collectively actors from Group Theatre of Lee Strasberg which accepted Russian Stanislavski's system as American acting. We can find out the origins of Korean acting in the attitude of actors who imitate Hollywood. Hollywood method, which seem to be more systematic and rational in the previous Sin-pa, has begun to be accepted in the fields of actors, directors, critics, and educators. The perception of Hollywood method in Korea is part of the search for the identity of Korean film acting. This article approaches from the perspective of four fields. First, it is Korean actors' perceptions about Hollywood methods. Second, I examine the attitude of the direction of staff and technical aesthetics regarding Hollywood method. Third, it is evaluation aspect in criticism area. Fourth, it is an aspect of education.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.486-505
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• 2014

is the winner of Grand Jury Prize in World Cinema-Dramatic at Sundance Film Festival 2013 and made high Box Office performance in Korean Indie Film distribution. tells the story of the horrific massacre of 30,000 civilians at Jeju Island in Korea in 1948. Civilians were killed by Korean Army under the supervision of U. S. Army and by the Korean Communist partisan. From the Statistical Style Analysis, has a lot in common with Ming-liang Tsai's movies and similar traits of art cinema. According to David Boardwell, Art Cinema is intensify the traditional continuity through selection and concentration rather than become the Alternative, Oppositional film practice of Mainstream Classical Hollywood Cinema.

• Cartoon and Animation Studies
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• s.36
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• pp.511-551
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• 2014

This study has examined genre tastes of Hollywood movies in Korea. A concept of cultural discount suggests that Hollywood film in foreign countries would be received differently according to its specific attributes. Following the suggestion of cultural discount, this study examines how local reception of Hollywood movies is different in Korea, focusing on film genre, production budget, and U.S. box office. The results show that genres are useful variables for such analysis, indicating that certain film genres are indeed suffering from relatively high cultural discount at the level of Hollywood movie import/distribution. Comedy, specifically, constitutes the crucial particularistic movie genre. However, this study does not find out any significant effect of movie genres on the box office in Korea, controlling the effect of U.S. box office and production budget. As Hollywood studios have recently produced multi-genre movies rather than genre-specific movies to induce a variety of audience who have different movie tastes, the influences of cultural discount disappeared among imported Hollywood movies in Korea. This study also reveals that Hollywood movies of high production budget and of successful U.S. box office are more preferred in Korea.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.15-24
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• 2019

Hollywood traditional movie companies are continuously challenged by new-type companies represented by the streaming content platforms. Based on the latest market statistics, and with a multidimensional approach involving the production, distribution, projection and overseas market, etc, this paper analyzes the changes and development of North American movie industry in its process of coping with the globalization and digitalization of media in 2018, and summarizes the effective measures for Hollywood mainstream movie companies to adjust their own structures and operation mechanism to maintain their development in the environment of new media consumption.

• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.210-226
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• 2021

The purpose of this study is to explore the American black film director Ryan Coogler and his cinema world. Coogler as a youth director directs three movies as (2013), (2015), (2018) from independence film to Hollywood film, and represents black people' life and racial discrimination base on his cultural identity. For this study, explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood black film history. He represents blackness and self-reflection as a black youth director, and successfully succeed to the tradition of 'Black Film' in American film history. He also turn white patriarchal ideology upside down in Hollywood. He inherits the tradition of 'Black Film' in American film history, and simultaneously tries to re-write black film tradition. Youth director Coogler is a symbol of 'New Hollywood Black Film Power' at the 21th.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.53-98
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• 2021

This paper examines the ways in which Hollywood feature films produced and widely circulated with the establishment of the studio system was consumed in the ethnically segregated Korean movie theaters in Kyǒngsǒng in the 1920s. Focusing on how those theaters appropriated what Hollywood represented, this paper has three objectives. First, from a historical and economic perspective, I will historicize the emergence of so-called prestige pictures and how movies became a branded product in that process. Second, I will also loot at how Chosǒn Theater, one of the earliest movie theaters in the Korean-resident area in Kyǒngsǒng who sought to be a prestigious movie palace actively exploited Hollywood brand, by foregrounding its Paramount connection, in particular. Lastly, through a close reading of weekly programmes and handbills, I will examine how these promotional print materials, as an intermediating medium, helped to supplement the audiences' viewing of Hollywood movies while creating loyal audiences.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.750-758
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• 2017

Korean film actors and staff participated in Incheon(Terence Young, 1981) Hollywood filmmaking workforces had taken in South Korea. According to the dictation of the elders who participated in the making of the film Incheon, through the movie they were able to experience Hollywood film production system and said it had an impact on Korea filmmaking system. It is the reason that this study tracks the historical traces of the almost forgotten film. This article analyzed an expert assessment and recognition of the audience about the film Incheon produced by the Hollywood production system. Expert review was utilized in such press articles and tomes about the actors and staff who participated in the film. Also, the audience rating was analyzed in terms of the recognition at the theater or watching cable TV, Internet etc. Evaluation of expert in Incheon was monotonous but negatively red, I could confirm that the viewers recognized in various ways, rather than evaluated the film.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.105-118
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• 2021

The purpose of this study is to explore the American Youth Film Director Damien Chazelle and his cinema world. Chazelle as a youth director directs three movies as (2014), (2016), (2018) in Hollywood, and represents youth directors in Hollywood. For this study, adopt two research methodologies which are 'Auteurism' and 'culture studies', and explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood history. This study concludes that Chazelle is a 'Auteurism director of self-reflexivity' who has three things in common as 'narrative: success myth', 'mise-en-scene: Chazelle's world', 'self-reflexivity: Auteurism film directing'. Youth film director Chazelle is opening up the future of Hollywood as a 'Auteurism film of self-reflexivity' and the creative film directing of the youth generation.