• Journal of Digital Convergence
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• v.17 no.10
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• pp.417-426
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• 2019

The purpose of this study is to analyze the success and failure of the movie made by the original game by comparing the box office environment of the movie made by the original game and to derive the necessary elements to make a good original movie. The specific analytical content studied the specific successes and failure factors of the remake of the game with , , and . Analyzes of the research show that the audience can be divided into game fan and non - game fans, and how to reflect the expectation on both sides of the movie is an important factor in making the movie. Also, games of different styles and genres from other themes can not be created in the same way as remixing movies, but flexible diversity and management are needed. Unconditional scenarios of games or game switching of movies can not be popular among the public, and it is very important to analyze specific target audiences.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.4
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• pp.11-25
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• 2022

Convergence, a universal phenomenon in modern society, takes place in various ways throughout society, and the concept of convergence can also be observed in fashion shows. The concept of convergence is actively emerging in terms of fashion show directing. The purpose of this study is to suggest the development of fashion show directing by analyzing the convergence characteristics of fashion show directing through a Louis Vuitton fashion show, and to provide data on convergence in fashion shows. The object of the study is the women's Paris Pret-a-porter and women's cruise collection presented at the Louis Vuitton fashion show. The research method integrated the criteria for analysis and the characteristics of fashion show production through previous studies and a literature review. The characteristics of convergence production in Louis Vuitton fashion shows were identifeid through literature and visual data. In this study, the convergence of the Louis Vuitton fashion shows were divided into four categories: genre integration, sensory synesthesia, perspective diversification, and media scalability. First, the integration of genres enhanced the brand image and effectively conveyed the concept of the show. Second, the synesthesia of the senses expanded communication with the audience and increased the audience's immersion. It has also become a new way to experience fashion shows in person. Third, the diversity of perspectives changed and diversified the way audiences experienced fashion shows. Fourth, the scalability of the media means various ways in which the audience can experience fashion shows. Through this, it is possible to effectively convey information and experiences about fashion shows to the audience.

• Journal of Fashion Business
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• v.13 no.1
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• pp.152-166
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• 2009

By virtue of the development of mass media, the cinema, the composite space art taking the visual and auditory elements together, exhibits the actual life of the realities, thereby having a mutually close relationship to social, cultural and economic fields and continuing to generate the fashion code as well as reflecting the image of the times. Especially, fashion style in movies delivers their image and atmosphere and becomes the means for containing the personality, spiritual world and inner thinking of the characters in the movie and inducing its plot. Therefore, this study was intended to make clear that fashion fuses and shares with a diversity of genres such as movies and the like, becomes the cultural model that proceeds to create a new culture in relation to daily life and induces and presents the trend of contemporary fashion. For this purpose, this study attempted to analyze fashion style in the movie. Lolita is the fiction published by the Russian?American writer Vladimir Nabokov($1899{\sim}1977$) in 1954. It is the fiction that portrays the unethical love between Humbert, a middleaged man, and Lolita, a girl in her 10s. It was cinematized by the director Stanley Kubrick for the first time in 1962 and revived by the movie director Adrian Lyne in 1997. The character of Lolita has a younger look like a girl and looks immature in the movie directed by the movie director Stanley Kubrick and the movie director Adrian Lyne. But the character of Lolita has the commonality that she showed an incomplete female image of having a sexually freewheeling thinking. Thereby, this study sought to prove that the created fashion style of the character in the film not only became the clue to enable us to know the time and space background in the film but also helped the film develop effectively by performing a role of portraying the character in the movie. And it attempted to present that it becomes both the foundation for leading the fashion trend shown in contemporary fashion and the code of mass culture. Fashion style of Lolita in the movie appears to be reflected diversely in mass culture as well as fashion style in the contemporary times.

• Cartoon and Animation Studies
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• s.33
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• pp.247-270
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• 2013

Kim, Yong-Hwan is a one of the South Korean major cartoonists between 1940s and 1960s. Kim, Yong-Hwan drew a variety of genres from children's cartoon to current-affair cartoon. Furthermore, Kim, Yong-Hwan took the lead in publishing cartoon magazine and newspaper after the Independence, and has been highly appreciated as a pioneer of Korean cartoon. Kim, Yong-Hwan created many works in the fields of illustrations, Oriental painting, history painting, caricature, etc. After going study for painting to Japan, Kim, Yong-Hwan made his debut as an illustrator called Kita Koji in Japan. However, not much is known about his works in Japan, only there is a simple data about his Japan period and some pieces of illustration during Japan years. In this paper, I examined in detail about Kim, Yong-Hwan's work activity in Japan which has been little known in Korea for a long time. I studied on illustrations in magazines and books which he drew in the name of Kita Koji, on the basis of the data of the National Diet Library of Japan. I could know that Kim, Yong-Hwan worked actively in a diversity of publishers and magazines. In addition, I could realize that many magazines in which Kim, Yong-Hwan drew illustrations were very popular ones. This demonstrates that Kim, Yong-Hwan was much recognized in Japan for his talent. However, a large number of Kim, Yong-Hwan's illustrations were published from late 1930s to mid-1940s. This period was the years that Japan concentrated all her energy for World War II. All the publishing were severely censored during this period. A majority of publishing in this period supported Japanese militarism, and glorified Japan's war policy. Kim, Yong-Hwan's illustrations were no exception, too. It was really sorry about his activity during his Japan period. This essay means a lot to a field of cartoon studies in terms of a collection of materials during Kim, Yong-Hwan's Japan period. Besides, I think that henceforth, this paper can contribute to a follow-up study on Kim, Yong-Hwan' work and his broad background.

• Korean journal of communication and information
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• v.17
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• pp.85-111
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• 2001

In this article, Channel 4 in Britain is the main theme since its alternative broadcasting system can shed the light to the Korean case. Korea is getting into the era of multimedia and including webcastings there are over thousands channels are available. However the infra-structure fur the broadcasting contents never seems to be matured to match its need. Instead Korean production system is rather vertically integrated into the Networks(KBS, MBC and SBS) which oligopolise the broadcasting in terms of supply. Even though 'Program Quota Regulation' has been established under the new Broadcasting Art(1999), the old habits die hard and still the independent producers have the unfair relationships with the Networks. Under this circumstance, Channel 4 can be the good example to show how well the alternative system can serve to the diversity of broadcasting and the taste of the minority. Channel 4 took almost 20 years to establish since there were enormous amount of debates about its public missions, ideal broadcasting system, whom it should serve for, etc. between all the social sectors including the independent producers. The social agreement was reached on the point that the new broadcaster should not produce but publish and it is called the 'publishing broadcaster'. In this sense, it can be managed effectively with comparatively little fund and at the same time, it can always have all different sorts of contents as well as genres very freely through 'commissioning process' or buying programs from even the most innovative producers. The 'commissioning process' is one of the key points which makes the Channel 4 so unique. The commissioning process is literally open to anybody, in particular, to the small scale producers with much innovative ideas. Channel 4 will support financially as well as with facilities and human resource to produce the program once after their program idea is accepted by the commissioning editor. Even better side of Channel 4 is about their financial success. From the beginning, the 'funding formula' helped in great deal to make the Channel 4 doing all sorts of innovative experiments. The history of 'funding formula' and its contribution are explained in the article, too. With all this effort, the article is hoped to bring discussion about the alternative broadcasting system which might help to prepare the new era of broadcasting.