• The Journal of the Korea Contents Association
• /
• v.15 no.5
• /
• pp.151-167
• /
• 2015

Korean movie maintain their market share from the highest 59.7% to the lowest 42.1% during the last ten years in Korea. However, with the multiplex and wide release strategy, the monopolies of four major distribution companies and three multiplex chain, the polarization of Korean movie's Box Office performance is deepening. With Gini-Index, concentration of film admission has been deepened in intensity from 0.53 in 2004 to 0.85 in 2014. Using Thomas Piketty's method, Movie attendance proportion of Highest 10% of the box office ranking for 2014 sharply increased to 71.2% from 30.28% in 2004 and the lowest 50% of box office ranking dropped from 11.03% in 2004 to 0.08% in 2014. Concentrations of the number of Screen, Screening, the seating Capacity have the same analogy with the polarization of film admission. However, concentration of seating share has maintained a modest increase from 0.22 in 2004 to 0.38 in 2014. This analysis shows that polarization of Korean movie box office performance is not the sole result of Natural selection of market but the result of the monopolies of distribution companies and Multiplex chains.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.6
• /
• pp.109-124
• /
• 2020

This study examines the concentration in terms of supply and consumption in the Korean movie market, focusing on screen size, nationality, and the box office. For analysis, it selects the top 100 movies in the box office each year for 15 years from 2005 to 2019. According to the result, the number of screens increased steadily every year, and the screen concentration became very high. For the top 100 movies, it increased from 12% to 30% of the total screen. It became higher in the case of the top 10 movies. As the number of screens increased, multiplex assigned more screens to one movie. Multiplex's screen allocation continued to increase, with one movie taking up more 60% of the total screen. This became more serious after 2011 and 2012. Market share of the top 100 movies accounted for about 95% of the total box office performance, even though the number of released movies is about 3,000. Whether multiplex preferred Hollywood movies or not, its screen assignment was found to favor Hollywood movies over Korean ones. In the case of film nationality, both Korean and Hollywood movies accounted for 90.7%. Two countries had a market share of 96.6%. There was no single side except Korea and the United States in the top 10. The increase in the number of screens deepened the concentration in screen allocation. The concentration in the screen allocation led to the concentration of consumption. The Korean film market is the case where the increase of movie screens did not create a diversity of supply and consumption. It also did not affect the diversity of film nationality. This research reveals that supplied concentration and consumed concentration are positively correlated, and that the former is a little lower than the latter.

• The Journal of the Korea Contents Association
• /
• v.16 no.6
• /
• pp.305-322
• /
• 2016

With the multiplex and wide release strategy, the monopolies of four major distribution companies and three multiplex chain, the polarization of Korean movie's Box Office performance is deepening. The four major distributor of NEW, CJ CGV, Lotte Cinema distributed 290 movies of 538 movies produced from 2009 to 2014 in Korea. The audience market share of these four distributors is 85.74%, while other 248 movies covers only 14.26%, which are distributed by outsides of the four major distribution system. The concentration of film admission has been deepened in Gini Index from 0.53 in 2004 to 0.85 in 2014. The movies distributed by others rather than four major companies suffers inequality in numbers of secured screens, screening times, and secured seats of movie theaters. In the highest 10% of box-office ranking, there is only one movie distributed by others. The lowest 50% of box-office ranking, there are 186 movies by others, while four companies have 81 movies. However, Occupancy rate of seat of major companies is lower than 16.83% of that of the others in the lowest 50% section. Workers of Korean movie industry are suffered from this polarization and they seek their breakthrough by producing erotic movies for VOD in recent years.

• Journal of Digital Convergence
• /
• v.16 no.9
• /
• pp.405-412
• /
• 2018

When a film company decides whether to invest or not in a scenario is the appropriate time to predict box office success. In response to market demands, AI based scenario analysis service has been launched, yet the algorithm is by no means perfect. The purpose of this study is to present a prediction model of movie scenario's box office hit based on human brain processing mechanism. In order to derive patterns of visual, auditory, and cognitive stimuli on the time spectrum of box office animation hit, this study applied Weber's law and brain mechanism. The results are as follow. First, the frequency of brain stimulation in the biggest box office movies was 1.79 times greater than that in the failure movies. Second, in the box office success, the cognitive stimuli codes are spread evenly, whereas in the failure, concentrated among few intervals. Third, in the box office success movie, cognitive stimuli which have big cognition load appeared alone, whereas visual and auditory stimuli which have little cognitive load appeared simultaneously.

• Review of Culture and Economy
• /
• v.21 no.1
• /
• pp.3-20
• /
• 2018

This study investigates a comprehensive context between the vertical integration and concentration of Korean film market. The concentration of distribution and screening markets are result of industrial strategy to defend demand uncertainty and to pursue economies of scale. Major distributors are increasingly inclined to defend industrial risk by concentrating resources on blockbusters and bargaining power of the multiplex is getting strengthened by distribution competition to secure as many screens as possible. Vertically integrated multiplexes operate discriminatory preferential treatment to their affiliates, however, there is a difference in degree of discrimination between vertically integrated groups. Furthermore, it is difficult to exclude each other from the distribution competition in which the largest screen number has to be secured. It is difficult for multiplex only to pursue the interests of affiliates and make negative choices in screening performance. As the number of screening screens increases, the seat occupancy also increases. As a result, the polarization of the distribution and screening markets, including the screen monopoly, is a phenomenon that occurs commercial films centered markets and the unfair behavior of the vertically affiliated multiplex has a limited effect on the movie market.

• Cartoon and Animation Studies
• /
• s.40
• /
• pp.287-314
• /
• 2015

This study tries to analyze the portfolio of production budget related to Hollywood animation movies released during the five years between 2010 and 2014, in order to investigate how blockbuster strategy made the box office performance. The analysis shows that this animation genre invested more than one thousand million dollars as the average budget for each film. It increased threefold in the box office result. In the production of Hollywood animation genre, 72.2% of its whole production money was found to use for movies investing more than one thousand million dollars. It is to show how the production of animation aimed for profit-making via blockbuster strategy recognized as the most successful portfolio strategy in the recent Hollywood film industry.

• Journal of Korea Game Society
• /
• v.19 no.1
• /
• pp.61-72
• /
• 2019

This study has meanings by adapting recreation specialized theory, focusing on outdoor recreation activities, on indoor recreation, e-sports. LoL is leading the e-sports fever now, and this study is targeting its spectators, reflecting and analyzing recent e-sports consumers' leisure feature statistically. For the further research, adapting a theory to various fields to generalize is required. Also, the researches on e-sports leisure need both quantitative and qualitative methods.

• Proceedings of the Korean Society of Broadcast Engineers Conference
• /
• 2013.06a
• /
• pp.293-295
• /
• 2013

최근 3D 비디오의 흥행과 더불어 사람들이 스테레오스코픽 비디오를 쉽게 접할 수 있게 되었다. 하지만 부적절한 스테레오 스코픽 비디오는 시청자로 하여금 어지럼증, 눈의 피로 등을 느끼게 할 수 있다. 따라서 비디오 컨텐츠를 분석하여 피로도를 예츨할 수 있는 지표의 개발이 필요하다. 스테레오스코픽 비디오에서 피로도를 유발시키는 원인은 여러 가지가 있으며, 본 논문에서는 비디오의 카메라 움직임 정보에 집중한다. 카메라의 흔들림은 심각한 멀미를 유발할 수 있다. 이는 스테레오스코픽 비디오에서 더욱 강렬하게 나타나게 된다. 우리는 스테레오스코픽 비디오의 흔들림을 측정하기 위해 3D 복원 기술을 사용한다. 특히, 좌안 비디오와 우안 비디오의 정보를 모두 활용하는 최적화된 알고리즘을 제안한다. 이를 통해 우리는 각 프레임의 카메라 위치와 방향 정보를 획득할 수 있다. 마지막으로 획득한 3차원 카메라 움직임 정보로부터 카메라의 흔들림을 잘 표현할 수 있는 점수를 계산한다.

• The Journal of the Korea Contents Association
• /
• v.14 no.3
• /
• pp.94-102
• /
• 2014

In the 21th century, audiences were fascinated with stereoscopic 3d in the theaters again. Since 2009, interest in stereoscopic 3D had been increased explosively, but shortfall in stereoscopic 3D contents is yet to be solved. However, despite shaky conditions in broadcasting businesses, stereoscopic 3D movies are released steadily in Hollywood. And the movies with strong storytelling are performing in the film market, so common point among them is that stereoscopic 3d techniques are used for subserving narrative immersion effectively. Therefore, stereoscopic 3D techniques will be helpful for enhancing narrative immersion. So I researched relations between immersion and stereoscopic 3D, and proposed space planning process for enhancing narrative immersion in stereoscopic 3D.

• Cartoon and Animation Studies
• /
• s.41
• /
• pp.133-152
• /
• 2015

Some artists and scientists in physics and animation originating from research on its form of expression thanks to the rapid development of the example in the late 20th century image production technology integrating existing media feature, perform a re-creation and pop culture content has been recognized as a key factor. animation of the modern emphasis is also commercial and artistic activities as show whether the artist can not be excluded that also target audience. The audience does not want only to receive offers simply 'seeing' and 'hearing' in the animation requires a more indirect mental met. the other side, the director should lead the audience to immerse myself in work as intended mystification induce the world. where a conflict occurs between the audience and the director and The director needs to have its troubleshooting point to 'Technology of the communication'. Which is reduced to 'How will tell,' is technology communication technologies that are abbreviated representations of animation director is accessible to the audience and it is a close relationship between the psychological aspect of audience. Because, the audience is reproduced in a limited space, but he called on the board of directors and the same time the screen, the audience located at reception and the director located at provide. It is given. led force is given to the director. for this reason, The director needs to pay attention to the psychological aspect of audience this can be explained based on psychoanalytic theory. In this paper, "How can you lie to the audience and the director is the same line?" put down logic that is the animation audience under the logic that takes place visually capture phenomenon "selective attention" and sub-concept of "goal-directed selection' and 'stimulus-driven capturel' for theory of psychology. also, Induction device to elicit selective attention of the audience accordingly, let's consider whether and how they apply in animation.