• The Journal of the Korea Contents Association
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• v.12 no.11
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• pp.88-99
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• 2012

Korean Film Council (KOFIC) is entrusted by the Ministry of Culture, Sports and Tourism, Republic of Korea, aiming to support and promote Korean films. With the government's policy for balanced regional development, KOFIC head office will be relocated to Busan. Busan is famous for the Busan International film Festival and their effort for Korean film industry. Until now, the Korean film industry is concentrated on the Seoul metropolitan areas. With the relocation of KOFIC, it is the time for KOFIC to recognize and promote and Busan as the Second key Cluster of Korean film industry. With the cooperation with Busan Film Commission, KOFIC needs to set up the new promotion plan for Korean film industry for future including building new film production studio, raising regional film production fund, and scouting new talented filmmakers.

• The Journal of the Korea Contents Association
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• v.14 no.7
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• pp.386-394
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• 2014

Entertainment Industry, with high productivity of added value, is noticed as a major industry leading global economy. Thus the government has been constantly attempting to devise various plans for developing entertainment industry, but the plans are mostly come out according to currently faced issues rather than considering the whole industry interior interaction. We are mainly objective to find a ground for estimating the current entertainment industry status. For this, we borrowed the concept of 'maturity' from various capacity maturity estimation tools. We also analyzed Korean film industry as a representative entertainment industry case to find what and how government intervention has affected on the industry.

• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.550-557
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• 2019

The Film Development Fund was established in 2007 to improve the quality of film arts and promote the Korean film and video industry. As a key resource operated by the Korean Film Council, the film development fund provides various projects including support for the promotion of Korean film creation and production, funding in video-specialized investment associations, export and international exchanges of Korean films, and production of small-scale or short films. This study aims to propose ways to reinvent the film development fund, which is in danger of being depleted. Based on such purpose this study examined the status and problems of the current film development fund and reviewed previous literatures and related discussions. Furthermore, the policies of similar overseas organizations for film promotion including French National Film/Video Center (Centre National du Cinema et de l'image $anim{\acute{e}}e$, CNC) and the British Film Institute (BFI) were reviewed to draw a multi-faceted way to replenish the source of revenue for Korean film development fund.

• Korean journal of communication and information
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• v.35
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• pp.147-178
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• 2006

Screen Quota is very important topic at our whole society not only film industry. Moreover the opinions are sharply divided. So, journalism, at the objective and neutral position, has the responsibility to present objective field to discuss and neutral information. This script censoriously focuses that how Korean Journalism handles Screen Quota issue from the upper mentioned premises. The first point is Korean Journalism gives legitimacy to the Governmental persistence, which is fixing Screen Quota as a hurdle for the FTA settlement so that it should be reduced. Secondly, Korean Journalism has been reducing the importance of the Screen Quota issue as the problem of film industry itself own, describing it as combat between Government and Film Industry. Third, it describes the Screen Quota as a privilege granted to the Film industry only. Finally, it provides power to the point of view of the Government which insists to reduce the Screen Quota mentioning the superiority of the competitiveness of the Koran Films discriminatingly. In conclusion, I could not but define that Korean Journalism is only speaking for America and Korean Government especially about the Screen Quota issue which is divided sharply. What it means is Korean Journalism has not been providing not only objective information but also impartial dispute field to the public for the issue which has very importance socially. The news and discussions about Screen Quota shows that this issue is not free from the progress of FTA which includes the Screen Quota problem. Further on, it could be deduced that the discussion about Korean film industry has kept on focusing its topic to the choice of decreasing or maintaining Screen Quota. The cultural contents have been expanding its importance day by day. Endeavors to settle the enormous problems of film industry should be preceded to strengthen the competitiveness and to prepare against market opening. Consequently, to solve the problems of film industry, Screen Quota should be positioned as a protect policy rather than a remedy for every ill, at the same time all the possibilities should be considered especially for the problems that Screen Quota could not solve.

• Current Photovoltaic Research
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• v.11 no.2
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• pp.49-53
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• 2023

Expanding the supply of BIPV is crucial to strengthening the competitiveness of the photovoltaic industry and achieving Nationally Determined Contributions through the zero-energy building mandatory policy. BIPV is a technology that integrates into the building envelope to generate electricity and provide functions as a building material. It is suitable for domestic environments with many high-rise buildings due to the narrow land area and urbanization. To expand the supply of BIPV, economics, safety, and aesthetics must be ensured. In this study, a color BIPV module with a color PET film applied as a front material was manufactured for aesthetic and economic feasibility. The relationship between power output and transmittance according to color was analyzed. By analyzing the power output of the module and the transmittance of the film, the wavelength band (transmittance reduction band) that has the greatest effect on efficiency was analyzed regarding the color of the film. The red film showed the narrowest transmittance reduction band and the lowest degree of decrease in transmittance, making it ideal for minimizing the efficiency decrease rate compared to existing ones.

• Journal of Digital Convergence
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• v.16 no.5
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• pp.425-433
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• 2018

Korea's film industry structure is focused on commercial movies centering on large companies, and its diversity and artistry are relatively overlooked. In addition to trends in the digital media age, the flood of consumable contents on the basis of special effects such as C.G, And is losing popularity as a popular art. The popular art should lead the mature social culture with the educational enlightenment character which induces the indirect experience and the wide insight of the world through the material and expression about the humanities study of the individual and the society. The analysis of the society's artistry and artistry about the movie "(2017)" can be a measure of the definition and kind of artistry in commercial movies and methodology about the manifestation of artistry. As a research methodology, we try to measure the future of the film industry by analyzing the status of the film as popular art, such as intellectual exploration and logical completeness of the essence of society, Through analyzing and criticizing the artistic characteristics in commercial films, I would like to suggest some improvement points by deriving the indicators of the artistic nature of commercial films. The film "1987" is a good example of an ideal commercial film with an artistry that cultivates cultural literacy, promotes civic consciousness through enlightenment messages, and plays a role of self-reflection through art experience. In other words, it shows the possibilities of commercial film with artistry in popular culture, such as a humanistic examination of true history and society, and an introspective gaze of the director expressed through the film society.

• Journal of Digital Convergence
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• v.19 no.7
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• pp.349-358
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• 2021

In the 1980s, the rapid development of Hong Kong genre films began the myth of Hong Kong's New Wave films, which had a profound impact on Taiwanese films of the same period. Later, two leading film directors, Hou Xiaoxien and Edward Yang, appeared in the process of being influenced by Taiwanese film Ganyu Wave. In this paper, we conducted research on the art style, theme style, film language, and aesthetic narrative methods of films of Hou Xiaoxien and Edward Yang against the backdrop of Taiwan's New Wave era. In addition, the visual characteristics of Taiwan's New Wave films, and the two directors have drawn suggestions on Taiwan's new generation of directors and the Taiwanese film industry, and presented a colorful film creation scheme for the creation and innovation of the new generation of filmmakers.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.7 no.5
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• pp.982-991
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• 2006

The screen quota system is one of the most controversial issues in the Korean film industry. There are two different points of view regarding the system. Some say it is highly effective to protect and nurture Korean movies. However, others argue that it hurts the duality of the Korean movies. The number of days, for which Korean movies have to play on local screens, has been reduced to 73, starting on July 1st, 2006. Actually, it is 50 percent fewer than the previous year. In facL Korea has implemented the screen quota. system two times. First, it was practiced from 1935 to 1945, during the Japanese colonial period. This was to regulate imported movies, especially American ones, as the Japanese government was to use movies for the political propaganda. In 1935, the number of foreign movies screened had to be less than three fourths of the total. And they gradually reduced the size by two thirds in 1936, and again by half in 1937. After the attack on Pearl Harbor when the Pacific War happened, Japan completely banned importing American movies in Korea. The reason why it regulated the imported foreign films is to increase the number of domestic movies, both Japanese and Korean. It was for making propaganda films fur carrying the war. The second practice of the screen quota is from 1967 to the present year. It was designed to boom the Korean film industry. However, the competitive power of Korean films has not been improved in spite of the practice of the system. Moreover, the film industry has gone through the depression. Korean film agencies have occupied the Korean film market thanks to the protection by government. The founding of the film agencies has been strongly regulated. So has importing foreign movies. Under the special protection like this, Korean film agencies have been enjoying the monopoly In the mean time, they have pursued income not by making quality movies but by importing foreign movies. As a result, cinema audiences turn away form Korean films and prefer foreign movies. Furthermore, the screen quota system hurts the relationship between film producers and distributors, imposing the duties only on theaters. In short, the screen quota system has satisfied neither film producers, theater runners, nor film goers. In other words. the excessive protection has weakened the competitive power of Korean film industry.

• Journal of Digital Convergence
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• v.16 no.5
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• pp.391-398
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• 2018

Analyzing the shortcomings and shortcomings of the film based on the Webtoon and the artistry as a popular artwork at the time when the filming of the webtoon is becoming the main trend of the Korean film, it is an analysis of the present state of the Korean film industry, Will be an indicator for. The present generation of young people who do not have the experience and knowledge of popular arts and culture that handed down a small number of high-quality arts by reflecting current literary, art, history, and popular consciousness are concentrating only on instinctive emotion, It is regrettable that it is consistently followed by follow-up and follow-up unconditionally. In this study, we will examine the methodology of the ideal webtoon filmization process by analyzing the structure and industry analysis of Webtoons, and analyzing the weaknesses in the transition process to the movie format. The essence of communicating with audiences will be unchanged even in the rapid change of media and technology. In the setting and expression of its essence, it is based on the humanistic authenticity mentioned above, the avant garde internal necessity of the artist seeking ideal, And the reflection of the original character of high-class culture that creates newness can be considered as a proposition that can include artistry in popular culture.

• Cartoon and Animation Studies
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• s.35
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• pp.209-226
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• 2014

Chinese cartoon industry lately was able to see a rapid development which changed cartoon creative personnel associated with increased production technology development, new technologies, government support policy and a variety of environments. It was likely to have high expectations for changes in the policy environment of the country supported the comic creators and authors to develop its own comic industry. The State Administration of Press, Publication, Radio, Film and Television of China promoted the production for the development of Chinese animation with "domestic little video about the development of the animation industry's opinion", and "documents Documents". Animation industrial base and animation education was established in institutions such as the organization one after another. In the meantime, the spread of Japanese comics picture on the creative activation admitted but their comic creation and activation was slump. It would produce that the creation of its traditional culture based activation strategy to built comics. Since 2004, It was well represented for the creators of the cartoon creation of the tradition and uniqueness of Chinese history. In the prior to 2004, comics and strategies was to be differentiated. Today, China is an important source of comic marked the fact that the tradition was recognized and it was further developed with combining creativity of the past and the present production system. Comic creators comic story of traditional culture were excavated in order to have a sense of awareness and modern. The difference between China Cartoon and comics in other Asian countries is true that cartoon story came out naturally in a traditional culture. In this study, It would lead in the future to allow directional presented for the digital cartoon making development policy awareness through the comic creation and production of new media content industry enabled to China. Now, in the new media industry for the development of China's neighboring countries coped with climate change for the active exchange of information. It poured out ceaseless technical development and a range of policies to support business expansion. New China Cartoon was leaped to re-fit the industry.