• Asian Journal of Innovation and Policy
• /
• v.5 no.1
• /
• pp.78-91
• /
• 2016

To counter-attack against piracy, the movie industry is continuously developing new technologies for the protection of intellectual properties, only to find them instantly useless especially in the digital age. This study shifts the focus from technology to customer behavior, and analyzes customer behaviors vis-à-vis piracy using economic models. The theoretical model of optimal holdback strategy under the threat of piracy was derived and the result shows that holdback can be used as a tool not only for hedging the loss due to piracy, but also for reducing piracy. Based on the theoretical model, we suggested proper holdback strategy for each type of movie piracy.

• The Journal of the Korea Contents Association
• /
• v.10 no.9
• /
• pp.137-145
• /
• 2010

Many research works are actively being done due to the 3D contents production technology for global competition through the world. In korea, many experts have taken notice of high quality 3D movies produced by Hollywood. Recently, 3D movie "Avatar" advanced 3D computer graphics based digital production technology is heavily influencing the contents industry in global market. Therefore, In this paper, the success factor of "Avatar"has to be analyzed. Also, the analysis of 3D contents production environment of the domestic and Hollywood is performed. Based on that, we analyzed the factors of threat and opportunity of the Korean 3D contents. Also, Based on the statistical data analysis of the korean film commission, favorable reactions of the korean movie and the government's powerful policy direction, we proposed the successful possibility of the korean 3D contents.

• Journal of Broadcast Engineering
• /
• v.20 no.6
• /
• pp.950-962
• /
• 2015

This paper analyzes the effect of the number of viewers and the number of running screens in the theater, genres of the movies and holdback period on the number of purchases movie VOD contents. In this paper, we deals with the 169 movies VOD consumption data which the digital cable TV subscribers purchased during the third quarter of 2013. As a result of the research, the average number of VOD purchases per each movie is 2,540. Regression analysis proves that the number of running screens and the holdback period are statistically playing a role of significance in movie VOD purchases. But the number of viewers in the theaters is not of significance. By genres, the result is shown as in this order: SF/fantasy 8,401 > dramas 4,011 > comedies 2,011 > action 1,789 > animation 1,138 > love story/melo 1,119 > horror/thriller 770 > erotic movies 636.

• Proceedings of the Korea Database Society Conference
• /
• 2001.11a
• /
• pp.297-322
• /
• 2001

o 2001.8: MGM 그룹(5대그룹) - MGM, Paramount, Universal, Warner Brothers, SONY Pictures Digital - VOD사업시작 - SONY와 Viant가 VOD기술 공동개발 - ＞MovieFly (중략)

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2001.10a
• /
• pp.43.1-43
• /
• 2001

• Journal of Korea Multimedia Society
• /
• v.20 no.6
• /
• pp.969-977
• /
• 2017

Through Rene Girard's theory of triangle of the desire, this research investigates the mimetic nature of desire as shown in the main character of the movie The Servant. This paper analyzes the structural transformation of desire in the character, which is revealed by the process of reinterpretation via the medium change and convergence from Chunhyangjeon, a classic oral novel in Korea, to The Servant, a movie created by director Dae-woo Kim in 2010. The Servant is a meaningful research subject as the transformation of the inner desire of the character is accomplished by boldly designating Bangja, who is supposed to be a minor character, as the protagonist. In particular, Rene Girard's argument on the indirectness of desire in the theory of triangle of the desire helps understand the point where the character' inner desire, which naturally occurred in the existing narrative, transforms into the mimetic desire by an intermediary. This indirectness of the mimetic desire of the main character suggests a similarity with modern men's vanity which is offered by the capitalist era. Through this, the modern meaning of the mimetic aspect of desire as revealed by the transformation from the movie The Servant to Chunhyangjeon can be understood.

• The Research Journal of the Costume Culture
• /
• v.12 no.4
• /
• pp.676-690
• /
• 2004

The purpose of this study is to investigate the symbolic meaning in body image and fashion style portrayed in Korea and American movies in aspects of sex, race, nature, and technology. The researcher analyzed movies in Korea and USA, and the results were as follows. In aspects of sex, movies portrayed new masculinity and femininity escaped from previous gender stereotypes, and the clothing styles characterized sex identity and sex roles. In aspects of race, more various races appeared in America movies than Korea＇s, and the appearance and stereotypes related with race were blurred by the globalization and the change of film market environments. In aspects of nature, Korea movie portrayed the human being as lyrical appearance in nature, and America movie expressed the human as a strong men conquering the nature in adventure movie or super human image combined with nature thing which endowed nature＇s superior characteristics to human body in fantasy and science fiction movies. In aspects of technology, the human bodies were described as cyborg, alien, or super human, which symbolized the do-identification in digital world, de-boundarization between human and machines, and the human＇s uncertainty.

• Journal of the Korea Convergence Society
• /
• v.11 no.6
• /
• pp.163-171
• /
• 2020

This study analyzed the contents and changes by year of metadata research that appeared in the study of domestic movie curation from the viewpoint of art management. The research method used thesis search site to search 'movie' and 'metadata' as keywords, and analyzed them in 4 stages of change according to the research trend by year, purpose of research content, analysis by use, and type of recommendation method. As for research results, movie metadata research is highly interested in user-side research, and is developing from an introduction stage to an evolutionary stage of recommendation to a sharing and participation stage. It was concluded that movie curation evolved into 6 stages: search support, content-based, collaborative filtering, hybrid, artificial intelligence, and curation.

• Journal of Digital Convergence
• /
• v.15 no.11
• /
• pp.441-446
• /
• 2017

As mentioned on the paper, this study does not tackle the issue of contention about different media mix. It rather analyzes the capability and intensity of new media created through the correlation of different media, and researches the intermediality relationship among media to create new type of fine quality media. Along with the development of digital technology, the intermediality relationship among painting, video media such as movie and animation has become active. Also, as the study examined, the mix of 'painting and movie', 'movie, animation, game' has blurred the boundary, and formed a mutual inevitable relationship. Thus, this study examined the transfer of media and correlation based on intermediality relationship insisted by Rajewski and Deleuze's theory. Deleuze's theory explains the relationship of being which analyzed the variation of media. As for the intermediality relationship of media, the study examined process of media combining and converting based on 3 types of category of Rajewski, "media combination, media conversion, intermedial relationship matching".

• Cartoon and Animation Studies
• /
• s.22
• /
• pp.17-30
• /
• 2011

This paper analyzes Blood: the Last Vampire (2009) in comparison with the original Blood: the Last Vampire (2000). This digital movie, released in 2009, faithfully re-presents the visual of the original animation using more budget and more developed technology. Though these two movies share very similar visual style, they have slightly different modes of expression that can be easily detected in their opening scenes. The original Blood chooses to tell its story in more indirect way. Some shots are intentionally vague and forcefully separated by black credit screen, leaving audience guessing exactly what happened. The remake version of Blood provides faster, more diverse, and more sophisticated images. It also uses invisible and slick editing, leaving no room to guess. These differences comes mainly from the difference of media. However, since the differences between two movies lie mainly in their narratives, we can ascribe the box office slump of the digital movie version of Blood: the Last Vampire to its narrative flaws. The heroin's inner conflicts were not convincing enough, supporting roles were not probable enough, and the whole story was not unique enough. As a result, the new Blood: the Last Vampire became another bad example that shows the importance of narrative in films.