• Journal of Information Technology Applications and Management
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• v.30 no.4
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• pp.77-86
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• 2023

This study conducted sentiment analysis on Hong Kong cinema from two distinct eras, pre-2000 and post-2000, examining audience preferences by comparing keywords from movie reviews. Before 2000, positive keywords like 'actors,' 'performance,' and 'atmosphere' revealed the importance of actors' popularity and their performances, while negative keywords such as 'forced' and 'violence' pointed out narrative issues. In contrast, post-2000 cinema emphasized keywords like 'scale,' 'drama,' and 'Yang Yang,' highlighting production scale and engaging narratives as key factors. Negative keywords included 'story,' 'cheesy,' 'acting,' and 'budget,' indicating challenges in storytelling and content quality. Word2Vec analysis further highlighted differences in acting quality and emotional engagement. Pre-2000 cinema focused on 'elegance' and 'excellence' in acting, while post-2000 cinema leaned towards 'tediousness' and 'awkwardness.' In summary, this research underscores the importance of actors, storytelling, and audience empathy in Hong Kong cinema's success. The industry has evolved, with a shift from actors to production quality. These findings have implications for the broader Chinese film industry, emphasizing the need for engaging narratives and quality acting to thrive in evolving cinematic landscapes.

• Journal of Korean Philosophical Society
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• v.117
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• pp.249-273
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• 2011

In this paper, I suggest a discourse on some delicate relations between the philosophy and the cinema, or between the visualizing philosophical reflection and the contemplating cinematic imagination. In this context, G. Deleuze is not a simple philosopher and Director Hong, not a director. Each is a kind of metonymy. Deleuzean style of philosophizing asks for Hong's nomadic style of producing cinema. and of course in the same manner, the latter asks for the former. The latter visualizes the speculative empiricism of the former, the former crystalizes the visual esthetics of the latter. To speak with Deleuzean vocabularies, it is not possible for the State Apparatus to capture the diverse works of director Hong. Because each of them is a kind of War Machine which always slips from every tackle of State Apparatus. Deleuzean key word 'genetic becomming' is a main concept of Hong's works. The point is not to dispose the theses 'becomming' of his works in the line of series but to release them in the line of rupture. My paper would show the sharp ridicules director Hong had poured on the conservative circle of the cinema in the context of Deleuzean nomadology.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.587-595
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• 2018

This research aims to analyze the importance-performance among multiplex cinema selection attributes. Therefore, we collected data for visitors who visited the multiplex cinema and want to watch movies. Of the various multiplex cinema selection attributes, four factors were deduced that includes: major services, human services, physical environment, auxiliary services using exploratory factor analysis. In the quadrant I, the area of 'Concentrate Here' was 'diversity of screening time', 'diversity of movie genre', 'convenience of mobile app use', 'size and convenience of parking facility'. In the quadrant II, 'Keep up the Good Work' area was 'convenience of website booking', 'discounts through card partnerships', 'employee friendliness', 'accurate employee information delivery', 'comfortable seating', 'screen size', 'cinematic sound quality', and 'convenience of traffic' etc. The quadrant III, 'Low Priority' appeared to be 'membership system', 'tidiness of staff attire', 'resting space for waiting time', 'accessibility to the neighboring area', 'diversity of the snack corner', and 'overall cleanliness' etc. The quadrant IV, 'Possible Overkill' was 'appropriateness of the auditorium temperature' and 'service proficiency'.

• Fire Science and Engineering
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• v.34 no.3
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• pp.18-27
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• 2020

An actual fire test was performed on single combustibles placed in a local cinema complex, and quantitative differences in the maximum heat release rate (HRR) and fire growth rate were investigated based on the design fire curve methods (i.e., the general and 2-stage methods). In terms of combustible use and fire load, a total of 12 combustibles were selected, classified into cinema lounge and movie theater. It was found that the maximum HRR and fire growth rate determined using the two-stage method were quantitatively different from those of the general method. The application of the two-stage method, which can be used to determine the fire growth rate of the initial fire stage more precisely, could be useful in accurately predicting the activation time of fire detectors and fire-extinguishing facilities, as well as the available safe egress time (ASET) and required safe egress time (RSET).

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.147-155
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• 2022

This article analyzed the new changes Hong Kong director Lin Chaoxian has brought to theme films of Mainland China and the factors affecting these changes. The objects of the analysis are Lin Chaoxian's films (2016), (2018), and (2020). Compared with Mainland China directors suffering from heavy political burden, Dante Lam directed theme films based on the model from commercial films and adopted lots of elements from Hong Kong films. There, the ideology expression in these theme films was no longer rigid, but a diversified value embodiment resonating with the audience. At the same time, these theme films achieved higher commercial value, in which the stereotyped and unrealistic hero images were replaced by realistic and compound characters, and the display of cool or violent action scenes contributed to lots of visual feasts. All the changes were influenced by the audience preferences and the development of private enterprises in Mainland China.

• Journal of Digital Convergence
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• v.14 no.8
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• pp.453-460
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• 2016

This study aimed to compare the systems of ticketing application programs of three major movie theaters, CGV, Megabox, Lotte Cinema, with each other and evaluate the usability, and find problems to figure out user experiences for more convenient mobile ticketing. Experimental subjects with experiences of using apps of the movie theaters were recruited; First, as a primary task, they reserved movie tickets with each of the movie theater apps; Second, they had in-depth interviews with questions based on the model of Creating Pleasurable Interfaces by Stephen Anderson. As a result, users preferred the composition with information in order in overall, in which ticketing process went smoothly. In particular, users were more satisfied with convenient payment applications. Therefore, as an improving way, it is required to design an interface for users to recognize at a glance and a payment system within an app, not to design separate payment system out of the app. I hope this study will help actively conduct researches to maximize the usability in a way to reserve movie tickets through smartphone apps.

• The Journal of the Korea institute of electronic communication sciences
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• v.14 no.2
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• pp.377-388
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• 2019

The system proposed in this paper was suggested as a big data system that works in the age of artificial intelligence of the 4th Industrial Revolution. The proposed system can be a good example in terms of government 's development of new intelligent big data information system. For example, the proposed system may be introduced into the system of a department as a function of the integration of existing cinema ticket integration network or its networking. For this purpose, the proposed system transmits the user's profile to the film producer or other company, where it is provided as comparison data. Soon, the information is sent to the user-specific characteristic data and then the film-maker will be able to gauge the success of the three elements of the movie's performance, cinematic quality, and break-even point in real time, which are revealed through the movie review that the actual user feels, including the so-called 'new reinterpretation.

• Cartoon and Animation Studies
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• s.6
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• pp.172-190
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• 2002

Flash animation occupied public attention since . It started to by payed attention through the internet first, and it spread into the off line. Flash animation becomes one of animation genre, as it tooks the place at the international animation festival. Also, as it is produced for tv, and the cinema, it has an infinite of possibilities. In this point, we have to notice that the domestic flash animation is the most successful in the world. Therefore, this paper will show accomplishment point and distinction of flash animation. Chapter 1, 2, will talk about basic outline and practical use of flash. Chapter 3 will look at a growth industry and process of flash animation, focused on Mashmaro, Zolaman, and Woobyboy. Chapter 4, will discuss about accomplishment point and distinction of flash animation compare with existing animation. Also it will conclude with a reflection on recommendations for further improvement.

• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.18 no.4
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• pp.423-429
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• 2009

The motion base to a film used in 4D cinema theaters or theme parks is different depending on the operator's control or hardware system and this causes inefficiency in management of the theater. There are several different simulation software on the present market, but these are difficult for an animation producer to use them. This study introduces the idea in which a film producer simulates the movement of the motion base by using computer graphic animation tools mostly adopted by production for creating 3D animation and motion control data. Maya and 3D Cross were used to show the path of a motion camera visually. Attitude and axis control data were extracted from the movement of the virtual motion base and were used to control a prototype of the motion base. As a result, the motion control data from computer graphic animation tools can be created so that a film producer can create standard motion control data independently regardless of the hardware and operator's skill.

• Journal of Korea Society of Digital Industry and Information Management
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• v.4 no.1
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• pp.89-104
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• 2008

The aim of this study is to analyze the distribution structure of exclusive digital muti-media broadcasting's contents. This study takes into distribution wether exclusive contents create an additional window being serviced to other media. And it investigates how the contents work in window through analysis of programming table and interview with programming editors of each DMB service company. The window effect is a same notion to the one source multi use. In the film industry, window means a movie distribution that a film can be on one after the other starting the cinema, DVD, local cable channel, and terrestrial television. The key point of this paper is how to new media, DMB, creates its additional window and changes the existing window structure.