• Cross-Cultural Studies
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• v.20
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• pp.323-346
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• 2010

This study reviews critical literatures regarding Asian cinema, focusing on studies of Japanese cinema, to show that Western scholarship on non-Western national cinemas have been divided into two approaches: traditionalism and modernism. It argues that such a division is not merely a critical tendency but indicative of the fact that a national cinema is an internally divided construct. To support the point, this study examines Chinese film studies conducted by Chinese film critics and the history of South Korean cinema during the 1970s and 80s. Then, it proposes the hegemony model to theorize the inner structure of national cinema. It finally suggests the possibility of comparative film study that the national cinema thesis may activate.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.227-238
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• 2022

This paper studies the change process and characteristics of the 'Korean community cinema movement'. The community cinema movement that has been active since the 2010's can be said to be a turning point in the Korean film culture movement. However, academic and policy definitions and research on the community cinema movement are extremely insufficient and only appear in some seminars or policy research reports. This study aims to discover the characteristics of the 'Korean community cinema movement' in the flow of the Korean alternative screening movement. A comparative study through a diachronic approach to the Korean alternative screening movement and case analysis of community cinema is intended to identify the characteristics of Korean community cinema and suggest policy measures for which a support system has not yet been prepared.

• Journal of the Korean Society of Costume
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• v.31
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• pp.145-164
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• 1997

Cinema costume can stimulate the public to synchronize with and replicate what they see in the movies. Especially when the public thinks the stars in the movies . Especially when the public thinks the stars in the movies are beautiful or dramatic the styles of cinema costumes powerfully affect them. Thus cinema costume designers quickey become fashion designers. Edith Head who strongly believed cinema costumes to be an effective means of portraying the Character's personality and psychological make-up was an innovative designer whose costumes manifested this belief. She enhanced the character's individual image and distinction for the public through her artistic design in costumes. She adapted a realistic approach but her costumes invariably produced aesthetic ef-fects. Since the Academy Awards added the category of costume design she led the field with 35 nominations and eight oscars during 33 years of her productive work. Edith head was a dominant figure in costume design; her creations were highly renowned as an art form while they gained popularity. The purpose of this study was to reveal the ef-fects of Edith Head's cinema costume designs on fashion. This study was also to emphasize the powerful influence on ashion of cinema costume and cinema costume designers in general. The study was done through literature movies for which she created costumes fashion magazines and Edith Head's original sketches. The influence of Edith Head's costume de-sign on fashion is as follows: 1. She introduced and lead the casual fashion in the 1950's combining simplicity and sophistication. 2. She altered uniforms and reconstructed public clothing for multiple functions. 3. She rearranged high school prom dresses through the movie 'A Place in the Sun" to en-hance characteristic of each gender and the Dandy Look of the 1930's into men's apparel in the 1970's through the movie "The Sting" 4. She expanded the traditional style in the 1940's and became a leader in ecological style. 5. She adapted glitter from astronaut's ap-parel into public clothing. 6. She resturctured Sabrina Pants in the 1960's to accentuate the individuals strength by overcoming one's weakness without minimi-zing it's aesthetic appeal and reintroduced the pants in the 1990's. 7. She introduced elegant negligees to gen-eral public and maintained it in the public do-main. As it is revealed Edith Head's costume de-sign not only impacted the field of fashion dur-ing her time but also is presently influencing modern fashion throughout the world as it is witnessed by repeated reintroduction of her fashion styles. Reviewing her cinema costumes it is concluded that cinema costumes it is concluded that cinema costumes powerfully af-fect the public through a visual channel more than any other routes. Cinema costumes can become the origin of fashion by stimulating the public to synchronize with and replicate what they see in the movies. Since cinema costumes can launch fashion trend it requires further research. Based on what is revealed in this study. it would be beneficial to examine how cinema costumes affect people socially and culturally and how they could provide resources for re-search in fashion trends. It is also the writers opinion that there should be more designers such as Edith head who could lead the field of costume design into the twenty-first century.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.203-210
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• 2001

Major companies have launched into the film industry since 1990s, which resulted in competition in facilities. In addition, restriction for the number of the prints was removed. Under these circumstances, the cinema has been transformed and developed from the established one-hall cinema into multiplex cinema with large-scaled halls. Contrary to the established cinema, modern cinema are a cultural place within easy access. They accommodate diverse social and cultural needs and their functions have been extending gradually. The waiting areas should not function only as the waiting space for the audience but also the places to attract the audience and provide them with various cultural and art information, and temporary restful break. For this study, the inter-relationship between the structure of the area and the audience are identified objectively by analyzing audience distribution and their routes within the area. The purpose of the study is to provide basic data about the design of the waiting area based on the findings above.

• Korean journal of communication and information
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• v.77
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• pp.137-163
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• 2016

In the early 1900, photography, magic lantern and cinema were simultaneously introduced and experienced until the mid-1910s as mysterious and magical symbol of modern science and technology. The technology of vision, cinema in particular demonstrated its commercially expandable potentials through serial films in the mid-1910s, silent cinema in the 1920s and talkies in 1930s. I argue that a metaphor 'like a movie' which was would be spoken out by peoples as a cliche ever since the late 1910s whenever they encountered something uncanny, mysterious, and looking wholly new phenomena informs how cinematic technology worked in colonial society at the turning point to the early 20th century. Mass in colonial society accepted cinema and other visual technologies not only as an advanced science of the times but as texts of modernity that is the reason why cinema had so quickly taken cultural hegemony over the colony. Until the mid-1920s, discourse on cinema focused not on cinema itself, rather more on the theatre matters such as hygiene, facilities for public use, disturbance, quarrels and fights, theft, and etc. Since the mid-1920s and especially in wartime 1930s, discourses about negative influences and effects of cinema on behavior, mind and spirit of masses, bodily health, morality and crime were articulated and delivered by Japanese authorities and agencies like as police, newspapers and magazines, and collaborate Korean intellectuals. Theories and research reports stemming from disciplines of psychology, sociology, and mass-psychology that emphasized vulnerability and susceptibility of the crowd and mass consumers who would be exposed to visual images, spectacles and strong toxic stimulus in everyday lives. Those negative discourse on influences and effects of cinema was intimately associated with fear of the crowd and mass as well as new technology which does not allow clear understanding about how it works in future. The fact that cinema as a technology of vision could be used as an apparatus of ideology and propaganda stirred up doubts and pessimistic perspectives on cinema influence. Discourse on visual technology cinema constructed under colonial governance is doomed to be technology of mass control for empire's own sake.

• Journal of Distribution Science
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• v.18 no.8
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• pp.89-102
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• 2020

Purpose: Our purpose in this study is to compare the SERVQUAL, SERVPERF, and non-difference score measures and to find out which one is better for measuring the service quality of the multiplex cinema service. We also aim to analyze the structural relationships between service quality, customer satisfaction and customer loyalty. Methodology: For the study, we collected data from respondents who have used the multiplex cinema services and conducted an empirical test. SPSS 18.0 was used for descriptive frequency analysis, reliability analysis, and multiple regression analysis, AMOS 18.0 was used for structural equation modeling analysis of causal relationships among variables introduced in research hypotheses. Results: The main results of this study are as follows. First, we found that the non-difference score measure provided a much better model than did other service-measuring models (SERVQUAL, SERVPERF) in Korean and Chinese multiplex cinema. Second, two service-quality factors (Korea-tangibles and assurance vs. China-tangibles and empathy) between the multiplex cinema service quality factors significantly influenced customer satisfaction, which had a significant effect on customer loyalty in Korean and Chinese multiplex cinema. Conclusions: Based on the results, the authors discuss the implications and limitations of this study and future research directions at the end of the paper.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.445-451
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• 2007

This study was started to not only resolve structural problems such as lack of contents, an unstable structure of earnings, and reduction of an additional market in Korean film industry through revitalizing digital cinema, but also make digital cinema become a power for growing Korean film industry furthermore. In the section of revitalizing digital cinema production, I suggest that expanding an audience base of low budget art cinema using digital technology will contribute to diversity film contents, and joint production with broadcasters by digital technology will expedite growing film industry as well as revitalizing digital cinema production. In the section of revitalizing digital cinema distribution, I insist, we should make effort positively to build reasonable hold-back and so on in order that film industry's positive participation in the market of digital film distribution and new media such as DMB or IP-TV may become an additional market to film industry. In conclusion, we can gain a foothold to leap toward a Position of cultural technology Power through efforts to resolve problems inherent in digital cinema.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.8 no.11
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• pp.31-40
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• 2018

This paper studies how marriage migrants are being depicted in Korean Cinema. In the recent years, the foreign population in South Korea has been increasing and so has done the presence of migrant minorities in media, including cinema. This study discusses that korean cinema shows dominant ideologies of power in Korean society where marriage migrants are located at the bottom. Five films were analyzed and from this analysis five frames were extracted. Marriage migrants are frequently depicted as subordinated or powerless, they are usually women in the role of wives, mothers, and daughters-in-law, they are treated as ethnic others, sexualized others or commodities. Consequently, their relationships with Korean nationals are formed by power relations. Moreover, Korean national who do establish some sort of intimate relationship with the marriage migrants are represented as people in the margins of Korean society. In this way, it is reinforced the social position of marriage migrants as outsiders in the Korean society.

• Korean journal of communication and information
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• v.26
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• pp.7-44
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• 2004

This paper proposed semiotic model to explain representation process of time in cinema. Limitations of cinematic narratology which explain representation process of time in cinema were indicated, then alternative explanations of Deleuzian philosophy of cinema were proposed. After discussion about articulations of cinematic code, Deleuzian concept of movement-image was suggested as semiotic minimal unit of cinema. In cinema, Movement-image is divided two different aspects ; "normal movement-image" and "abnormal movement-image". Therefore, two different semiotic representation process of time was reconstructed in accordance with Peircean semiosis theory. In this two different semiotic process, modern cinema emphasize the direct representation process of time with "abnormal movement-image". As Deleuze indicated, The "time-image" is presented in this semiotic process. The "time-image" makes it possible to consider "time itself" as philosophical fact which is laid between reality and cinema, This semiotic process more emphasizes pure expressionality than representationality. Deleuzian philosophical journey through cinema was started in this point.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.166-175
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• 2012

(2010) and have showed possibility of Korean 3D cinema production. From the experience, many problems were deduced in terms of 3D cinema techniques and work-flow. this study is analysis of 's production. The analysis is focused on the problems from the 3D cinema production and pipeline of . By making an analysis the experience, trial and error of production, it will be giving practical information and analysis result to staffs who are willing to create an next Korean 3D cinema. As a result of analysis, has failed to achieve technical accomplishment and to build effective production pipeline. Never the less, it is positively evaluated that it has tried to establish the foundation of Korean 3D cinema production.