• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.96-97
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• 2004

• The Journal of Economics, Marketing and Management
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• v.6 no.2
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• pp.1-4
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• 2018

Purpose - This research, based on the successful experience of Korea, especially of Korea government, which, though promulgating laws and making policies, plays an rather pivotal role in Korea cultural industry development process, in developing cultural industry, explores possibly successful path and pattern that is suitable for China cultural industry. Research design, data, and Methodology - The study conducted a survey on Korea's 2000-2011 year data. After empirically analyzing the data, we believe that cultural industry in Korea and China will maintain its growth momentum. Results - This study shows that China and Korea are both belong to the only cultural circle of Confucianism and Chinese character, therefore, to research the successful experience of Korea government in cultural industry development will do much good to better promoting the optimal development of China cultural industry. China can encourage private flow to take on enterprises. In terms of financing, diversification can be achieved, by the means of cash, land, intangible assets, technology, stock, bond, cultural lottery etc. Conclusions - Besides, to better the degree of the internationalization of the allocation of the cultural resources, China government can, under the condition that Chinese laws permit, encourage foreign capital to invest in Chinese cultural industry field.

• International Journal of Contents
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• v.17 no.1
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• pp.11-17
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• 2021

This article takes Disney animation as the research object to analyze the Chinese and American culture in the animation. The first part introduces the background of the animation. The theme of the animation comes from the long-standing narrative folk song Mulan Ci during the Southern and Northern Dynasties of China, and it introduces the parallel montage of animation narrative. The second part narrates the Chinese cultural elements in Mulan, and expounds on Disney's use and blending of Chinese cultural elements from three aspects of ink painting effect, national costumes and Confucianism. From the perspective of Western culture, the third part analyzes how to integrate Western thought and characteristics, and contrast with Chinese culture in Mulan from three aspects: Mushu, character and hierarchy.

• Journal of Korea Multimedia Society
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• v.19 no.2
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• pp.487-494
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• 2016

This study aimed to visualize a pig character targeting the golden pig in Geuknakjeon of Bulguksa Temple. As for a pig, it is included in this list of the 12 Chinese zodiac animals and controls Haeshinjang. Today, the characters market is enjoying rapid growth due to diversification of platforms. However, we do not see many characters made out of Korean traditional cultures and customs. This study first looks into significance of pigs that are often observed in Korean traditional culture and then offers possibilities of their being transformed into contemporary characters. In order to achieve the research goals, the study shed new light on the golden pig in Bulguksa Temple. As making contemporary applications to , the study proceeded with work of visualization. As for a face of a character, the study focused on that of the pig but regarding a body, the study applied a man's body. After all, the study came up with this SD character in a second-proportioned figure. This study discuses formative characteristics of existing Buddhist cultural assets and uses the character for improving understanding on Korean traditional culture. In the future, the study will propose ideas on animation contents development targeting infants and children.

• 중국학논총
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• no.61
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• pp.127-153
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• 2019

In this article, I singled out the examples of punishment and compensation seen in Liaozhaizhiyi which is an eighteenth century collection of short stories, and reconstructed the viewpoint of Chinese fortune and misfortune and furthermore presented the cultural meanings that this viewpoint has. The traits of Chinese culture seen in Liaozhaizhiyi are classified as follows: ① Only after carrying on a family line by birth of son(s), a happy conclusion can be made. ② AMain character passes state exam or alternatively his son(s) passes them. ③ Beautiful women / women given as reward have special abilities and talents. ④ Mostly, punishment and Compensation are made on a family basis, not on an individual basis. ⑤ Misfortune derives from a main character's desire; fortune from his sacrifice. ⑥ Norm and criteria for the punishment and compensation are based on confucianism but the procedure of the execution is based on taoism, buddhism, transcendent being and rules of folk religions.

• International Journal of Internet, Broadcasting and Communication
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• v.14 no.4
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• pp.64-79
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• 2022

The concept of Virtual Character has been developed for a long time with people's demand for cultural and entertainment products such as games, animations, and movies. In recent years, with the rapid development of concepts and industries such as social media, self-media, web3.0, artificial intelligence, virtual reality, and Metaverse, Virtual Character has also expanded new derivative concepts such as Virtual Idol, Virtual YouTuber, and Virtual Digital Human. With the development of technology, people's life is gradually moving towards digitalization and virtualization. At the same time, under the global environment of the new crown epidemic, human social activities are rapidly developing in the direction of network society and online society. From the perspective of digital media content, this paper studies the production technology of Virtual Character related products in the Chinese market, and analyzes the future development direction and possibility of the Virtual Character industry in combination with new media development directions and technical production methods. Consider and provide reference for the development of combined applications of digital media content industry, Virtual Character and Metaverse industry.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.235-238
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• 2009

The character design is part of a culture. That is, it is not just an object but it reflects the cultural tendency and context where it is visualized. It's potential as a cultural medium of communication become pervasive in the field. One of good sources of characters is the classics which represent the nation's culture and history. The topic of this presentation is to show how a character in the Buddhist story, the Monkey King, designed differently in different context. For the purpose, the animation on the Monkey King in China, Japan and Korea are reviewed and analyzed. The result shows that the same animation character has been designed in different way in different context and it reflects the cultural tendency of the country. For example, Koreans tend to emphasize the global feature of the character. In case of Chinese, however, the character designer emphasizes traditional value. Finally, the designer in Japan tries to put their cultural element in detailed part of the character that makes it appeal to the public.

• Design Convergence Study
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• v.14 no.4
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• pp.193-208
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• 2015

This study is to search a meaning of treagedy to show by the 6th generation through charecter's tragedy in the 6'th Generation Chinese film. For this, it examined an inner characteristic behind of the tragedy's moment and externalized ending in directors' films of the 6'th Generation's representation. The 6'th Generation of Chinese film reorganized newly Chinese film's cultural topography in the 1990s. The 6'th Generation films, which rebelled against the primary melody and the 5'th Generation on the system, is expressed commonly a tragedy moment with the time and space by character's tragedy. Characters of the 6'th Generation in the tragedy moment attempts various efforts to escape from the tragedy moment. However, no one can overcome the wall of reality, and their concealed emotion as keeping it out of the public eye lead that play. The moment that the 6th generation film meets a tragedy, the main character's accumulated tragedy situations begin to unfold all together. A tragedy embodied through : a collapsed tragedy due to the past's wound, a tragedy due to loss of jobs, a tragedy due to a family's departure, a tragedy from a time of chaos, a tragedy of a woman who became a head of a household and other tragedies.

• Korean Journal of Heritage: History & Science
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• v.50 no.2
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• pp.80-93
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• 2017

This study proposes a new scientific measurement method for damaged epigraph. In this new method, the Chinese characters are converted and coordinates are created for this measurement. This method is then used to decipher partially damaged characters from the parts of the coordinated characters that are damaged and intact. The Chinese characters are divided into 9 square parts by the position of their Chinese Radicals. The unknown characters are then compared and deciphered dependent upon the character shape in 9 square parts that have been created. This method is more scientific, accurate, and makes it easier to find related characters than deciphering through contexts, which is current method. When creating a new software based on this algorithm, it will be especially useful in deciphering an old manuscript or a epigraph that made ancient Chinese characters which are not currently in use. This study will also be helpful in deciphering semi-cursive styled or cursive styled epigraph, as well as semi-cursive styled or cursive styled damaged characters during follow-up research.

• Cross-Cultural Studies
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• v.25
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• pp.743-773
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• 2011

In this research, the writer has done a comparative analysis of 4,791 trisyllabic modern Chinese vocabularies from "a dictionary for trisyllabic modern Chinese word" and the corresponding Korean words written in Chinese characters out of 170,000 vocabularies hereupon that are collected in "new age new Korean dictionar y". Aa a result, we have the total 407 pairs of corresponding group with the following 3 types: 1) Chinese : Korean 3(2) : 3 syllable Chinese characters with completely same form-morpheme and same meaning, use, class (376pairs, 92.38% of 407), 2) Chinese : Korean 3 : 3 syllable Chinese characters with completely same form-morpheme and partly same meaning, use, class (18pairs, 4.42% of 407), 3)Chinese : Korean 3 : 3 syllable Chinese characters with completely same form-morpheme and different meaning, use, class (13pairs, 3.19% of 407).