• The Journal of the Korea Contents Association
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• v.19 no.6
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• pp.168-178
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• 2019

This study takes a close look at the recent success of independent documentaries to find its implications and a way to invigorate Korean documentary ecosystems. To this aim, this study performed in-depth interviews with independent documentary film makers and television documentary directors. Also, it analyzed the case of POV (Point Of View), which is television's longest-running showcase for independent documentary films in the USA. The results display that independent documentaries convey competitive edge of contents and expansion of distribution and funding through film industry systems, based on the producer systems, global distribution networks of overseas pitching and film festivals, marketing and audience strategy of film industry. Although this shows its molding of documentary industry ecosystems, there are great needs for various platforms other than film industrial outlet in order to make an advancement of the ecosystems under the digital environment. POV works on the basis of 'open sourcing' form when collaborating with independent film makers. Independent documentaries picked up by POV are aired on PBS, streamed via its online service, and distributed through community screenings; this three-outlet strategy makes POV a unique platform and has a relevance and feasibility to apply for Korean documentary ecosystems. Therefore, this study suggests to create a platform adopting POV system hoping that more studies and efforts would come for various and novel platform building so to make more advanced and invigorated ecosystems of Korean documentary.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.37-50
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• 2018

This study multi-dimensionally analyzes "Indie Game: The Movie", The game documentary film published in June, 2012. As game industry increases, game-related documentary films are also being produced. Previous game documentary films usually focus on the success of popular game or game users and deal with the reason of success. However, "Indie Game: The Movie" centers on Indie game developers who are not from famous and huge companies. Due to the development of the game engine, these days, Indie games become a new trend that game developers are able to develop their own game freely. Then, this study has a purpose to study the life of Indie game developers and explore how and why they want to make their own game. More specifically, this study analyzes "Indie Game: The Movie" by 1) Story 2) Conflict and Resolution 3) Form 4) Sequence. As a result, it concludes that "Indie Game: The Movie" has interview section mainly and represents that Indie game developers want to develop their own games due to their ego and identity. In other words, throughout the analysis of the documentary film, it explores the reality that Indie Game developers face and many features of Indie Game in the game industry.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.644-657
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• 2017

A golden age for Korean documentary films has begun in the 2010s. At present, the success of documentary film is attracting interest than any time in history. To meet the timely demand, the present study conducted research on success factors of documentary films for the first time. This study adopted the three categories of Litman's film success factors (creative domain, distribution domain, and marketing domain) and integrated to the cases of Korean documentary films to extract 12 success factors of documentary films through experts' validation process. Moreover, this study applied AHP method and examined the relative importance of success factors of documentary films. The result was as follows. The significant success factors mostly were found within creative domain. Documentaries that feature common themes rated the distribution/marketing factors highly whereas documentaries that cover socio-political themes rated highly the governments funding and infrastructure building. With regard to the online phenomenon of participating viewer, there was a gap in perception: the production field rated it high while the distribution/marketing field rated it relatively low. These success factors and priority will be used as baseline data in diverse fields related to documentary films, and provide significant implications to documentary film staff, policy makers, and researchers.

• Proceedings of the Korean Society of Computer Information Conference
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• 2020.07a
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• pp.439-441
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• 2020

본 논문에서는 국가무형문화재 기록영상의 화질 개선에 관한 연구를 진행한다. 기록영상의 화질 개선을 위해 SRGAN 기반의 초해상화 복원영상 생성 프레임워크의 적용을 제안한다. Image aumentation과 median filter를 적용한 데이터셋과 적대적 신경망인 Generative Adversarial Network (GAN)을 기반으로 딥러닝 네트워크를 구축하여 입력된 Low-Resolution 이미지를 통해 High-Resolution의 복원 영상을 생성한다. 이 연구를 통해 국가무형문화재 기록영상 뿐만 아니라 문화재 전반의 사진 및 영상 기록 자료의 품질 개선 가능성을 제시하고, 영상 기록 자료의 아카이브 구축을 통해 지속적인 활용의 기초연구가 되는 것을 목표로 한다.

• The Journal of the Korea Contents Association
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• v.17 no.10
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• pp.503-517
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• 2017

After a few recent documentary films had commercial success, factors for their success are getting attention. This paper explores the factors of the financial success of two documentary films. "My Love, Don't Cross That River" gained extended popularity with its universal message, and "Two Doors" conveyed a poweful political message. This paper conducted a case study by inteviewing production directors and distribution managers. Analysis was based on the three categories suggested by Litman and Kohl(1989): creative sphere, distribution-scheduling release pattern, and marketing efforts. Findings present the common factors of the two movies' success in the following areas: persons and events showing a powerful reality, a message with new and fresh insight, artistic quality, distribution strategy with timely scheduling, release time (period), public relations, and advertising.. In addition, "My Love, Don't Cross That River" was helped by a sufficient budget for scheduling/releasing and advertising. Its wide-release stratergy worked as well. "Two Doors" was aided by the government support for release and by the special factor called 'Participating viewer'. By examining the factors of documentary films' commercial success, this study has an implication for the popularization of documentary movies by indicating how to strategically apply relevant factors.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.2
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• pp.323-336
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• 2023

In the 21st century, fashion films are frequently used throughout the fashion industry. In particular, as videos have become an essential element and a communication tool of social media, they are becoming even more important in the world of fashion. In this study, different types of short-length fashion films (< 0:60) in current use were derived, and the effects of on the cognitive and emotional responses of users were analyzed using electroencephalogram(EEG) findings. EEG measurements were performed using Epoc+ on 31 healthy women aged 20-29 years after viewing six types of fashion films[fiction/well-made, fiction/user generated content(UGC), documentary/well-made, documentary/UGC, art/well-made, and art/UGC] in random order. The results demonstrate differences among four types of films. Specifically, alpha waves in the frontal lobe decreased more while watching documentary/UGC films than while watching art/well-made films. Gamma waves in the temporal lobe decreased more while watching fiction/well-made films than while watching documentary/UGC films. Furthermore, theta waves in the occipital lobe increased more while watching fiction/well-made films than while watching art/UGC films. These findings suggest that different types of fashion films can stimulate different parts of the brain that process thinking, cognition, emotion, and visual and auditory information and consequently evoke emotional responses.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.209-221
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• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.

• The Journal of the Korea Contents Association
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• v.9 no.5
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• pp.137-144
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• 2009

Culture contents industry in Gyeongbuk province has consumption system, being small-scale, an lacking infrastructure, imbalance, a shortage of strategy, and so on. But, culture contents industry in Gyeongbuk province has great possibilities in abundant culture resources, a prospect of the culture contents industry and future effective promotion strategy. And the promotion plans are the digitalization of the cultural original form, the edutainment of the Confucianism culture, construction of a traditional cultural digital center, location marketing, establishment of Documentary Film Council, culture literacy, an orientation of small film, promotion of the global city and the culture base city, development of killer contents, exploitation of tourism resource, discriminating strategy, and so on. Actually Gyeongbuk province should need to promote the culture contents industry because of high added value, an effect on related industries, utility of the digital culture contents, extension of a market scale, a rapid growth speed, and so on.

• Fashion & Textile Research Journal
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• v.7 no.2
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• pp.153-161
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of goth image which have had influence on literature, film, music and art, in modern fashion. The method of this study is to analyze the documentary about gothic and goth, and the fashion magazines since 2000. The results of this study are as follows: First, sensuality shows the excessive exposure of body and inner wear, and emphasizes a resistance of sexual consciousness and a image of independent, active, powerful woman. Second, androgyny shows the goth women wearing a men's cloth and encourages a person to have a perfect being and satisfaction. Third, horror shows the symbol of death and suggests a substance of desire hidden in our mind. Fourth, historicity shows victorian fashion which have a romance of gothic and baroque, not a cult but a modern image. In conclusion, goth image in modern fashion does not show a substance negative and horrorful, but a substance positive as a perfection, satisfaction, a sense of freedom, obliteration of a feeling of uneasiness and powerful woman's image.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.63-71
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• 2020

K-Pop is powerful. Once considered to be at the periphery of global music scene, it is now reaching the whole world. Not surprisingly, the media, domestic and foreign, have scrambled to unlock the secrets of K-Pop's phenomenal growth. In doing so, they have not failed to highlight the underside of its success, such as cut-throat competition among idol-group members and the programmed member replacement by their agencies. One of the most notable characteristics in this process is called, in their business jargon, 'the graduation system'. This paper attempts to explicate this management practice unique to K-pop industry. To do so, this paper draws on Rene Girard's work on desires, particularly his notion of mimesis, violence and the scapegoat mechanism. Based on a documentary film, interactive online sites and a monograph that have chronicled how the K-pop girl group <9 Muses> have 'graduated' during their debut process, this paper applies, as its main analytical tool, the scapegoat mechanism and attempts to explore on its basis what 'the system' entails for the K-pop industry in general and the actors working within it in particular.