• Communications for Statistical Applications and Methods
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• v.28 no.3
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• pp.217-232
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• 2021

The Korea film industry has matured and the number of movie-watching per capita has reached the highest level in the world. Since then, movie industry growth rate is decreasing and even the total sales of movies per year slightly decreased in 2018. The number of moviegoers is the first factor of sales in movie industry and also an important factor influencing additional sales. Thus it is important to predict the number of movie audiences. In this study, we predict the cumulative number of audiences of films using stacking, an ensemble method. Stacking is a kind of ensemble method that combines all the algorithms used in the prediction. We use box office data from Korea Film Council and web comment data from Daum Movie (www.movie.daum.net). This paper describes the process of collecting and preprocessing of explanatory variables and explains regression models used in stacking. Final stacking model outperforms in the prediction of test set in terms of RMSE.

• 중국학논총
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• no.61
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• pp.301-321
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• 2019

This is the premise that the language's cultural understanding must preceded the process in order to facilitate the communication of foreign languages. In order to understand the contemporary social culture of Korea and China, we sued the film 'Simple Life 'to conduct Chinese cultural education. For this, we first selected the theme of the culture, which is an issue in the modern society that appears in the film. Using the ambassador in the movie 'Simple Life",questionnaires and classes based on the culture selected for the subject were sometimes divided among the students of the Korean and China, and sometimes shared opinions and discussions and communication. The result of such a class progression are as follows: understanding the context of the culture and the use of movies can help you communicate smoothly.

• Asia Marketing Journal
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• v.11 no.2
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• pp.53-72
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• 2009

In the summer of 2008, the movie Dachimawa Lee: Villain, Get on the Express to Hell is waiting for its first release. This movie is based on a short film which was tremendously popular when it was first introduced on the internet in 2000, and the director Ryu Seung Wahn is expecting a mega hit of the movie this summer. Showbox is one of the leading movie distributors in Korea. After a series of blockbuster hits such as Welcome to Dongmakgol, The Host, and The Chaser, Showbox is now in stagnation. Along with sluggish economy in Korea, most of recent movies distributed by them didn't even reach the breakeven. However, expectation on the upcoming movie, Dachimawa Lee, is higher than ever. Marketing department of Showbox has to decide what kind of media channel to choose and which marketing strategy to apply. It needs to make a decision about whether to target the so-called mania group or the general public of much bigger size. In this case study, the distinctiveness of the movie marketing and its process will be discussed. Moreover, the marketing strategies for Dachimawa Lee's success will be examined in the Showbox's point of view.

• Asia Marketing Journal
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• v.26 no.1
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• pp.23-30
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• 2024

Firms often engage in manipulating online reviews as a promotional activity to influence consumers' evaluation on their products. With the prevalence of the promotional activities, consumers may notice and discount the reviews generated by the promotional activities. Discounting the firm-generating reviews may cause systematic measurement errors in the valence variable and lead to a negative bias when estimating the effect of consumers' organic reviews on demand. To correct the bias, this study proposes including product-specific bias-correction terms representing the proportion of extreme reviews in analysis. For illustration, the proposed method is applied to a demand model for data of movies released in South Korea. The results confirm a negative bias in the estimate of the valence sensitivity of demand. The negative bias potentially leads to an underestimation of the magnitude of the contagion effect through social interactions, a key component of evaluating the value of a satisfied consumer.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.53-62
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• 2019

In recent years, South Korean has made a globally acknowledged achievement in movie industry. In terms of Art, films produced in South Korea obtained lots of awards in international movie festivals; in the business field, Korean movies are swiftly occupying the Asian or even the world film market. Extraordinary films with good reputations and high box office records are frequently launched and induced to a trend, which then forms into a cultural phenomenon and attributes to an important, major force in the so-called "Hallyu" culture. This, in part, benefits from the massive support of Korean government's cultural policies, and is also a product of the high degree of cultural consciousness of Korean movie producers. The Korean cultures, customs, and the underlying cultural elements of the East, that are presented in these movies, satisfy the audience and appeal their fondness. The Princess and the Matchmaker is a South Korean period romantic comedy film directed by Hong Chang-pyo and starred Shim Eun-kyung and Lee Seung-gi. The movie was presented on Feb 28th, 2018. It tells a story of Seo Do-yoon, the most proficient saju (fortune-teller) expert of the Joseon Era who selected a husband for Princess Song-Hwa based on her "fortune eight letters" (specifically, the time, day, month and year of her and her husbands' birth, normally in eight letters), in a hope of alleviating the rage of people following years of drought, and thus to resolve a national crisis. This paper takes The Princess and the Matchmaker as an example, from the aspects of cultural state, system, behavior and mentality, to analyze the traditional customs such as "fortune eight letters", "marriage by match" and the cultural concepts behind these phenomena, in order to explore the ways and methods of traditional culture in the modern cultural and artistic form of film.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.638-649
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• 2013

This study focuses on analyzing the trend of Korean movies and the issues caused by industrialization and the alternatives. The results are as follows: first, there does not exist distinctive genre movie as most of the movie producers concentrate on thoughtless genre fusion of movie, simply hoping for box office success. Second, Giant companies that has large amounts of money and distributors tend to monopolize production, distribution, and running of movie. Consequently, the development of diversity and artistry is absolutely impeded. Third, the structure of Korean movie industry make some well-known movie stars survive the film world and staff members and actors except them face economic difficulty. The solution plans for the problems mentioned above can be drawn like this; first, genre film with distinctive features should be developed. Second, the monopolistic structure of the screen should be changed. Legal organizations are required to redesign the system of unfair Korean film industry. Third, it is suggested that quantitative expansion of special theaters of diversity film be urgently needed. Fourth, appearance fees given to popular movie stars, actors, and staff members have to be provided in a balanced way. Fifth, the way for revitalization of film production should be found through the legal examination of fund for film development. Last but not least, the profit from the additional film market ought to be made.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• Asia Marketing Journal
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• v.12 no.2
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• pp.1-25
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• 2010

Motion pictures are so typical experience goods that consumers tend to look for more credible information. Hence, movie audiences consider movie viewers' reviews more important than the information provided by the film distributor. Recently many portal sites allow consumers to post their reviews and opinions so that other people check the number of consumer reviews and scores before going to the theater. There are a few previous researches studying the electronic word of mouth(eWOM) effect in the movie industry. They found that the volume of eWOM influenced the revenue of the movie significantly but the valence of eWOM did not affect it much (Liu 2006). The goal of our research is also to investigate the eWOM effects in general. But our research is different from the previous studies in several aspects. First, we study the eWOM effect in Korean movie industry. In other words, we would like to check whether we can generalize the results of the previous research across countries. The similar econometric models are applied to Korean movie data that include 746,282 consumer reviews on 439 movies. Our results show that both the valence(RATING) and the volume(LNMSG) of the eWOM influence weekly movie revenues. This result is different from the previous research findings that the volume only influences the revenue. We conjectured that the difference of self construal between Asian and American culture may explain this difference (Kitayama 1991). Asians including Koreans have more interdependent self construal than American, so that they are easily affected by other people's thought and suggestion. Hence, the valence of the eWOM affects Koreans' choice of the movie. Second, we find the critical defect of the previous eWOM models and, hence, attempt to correct it. The previous eWOM model assumes that the volume of eWOM (LNMSG) is an independent variable affecting the movie revenue (LNREV). However, the revenue can influence the volume of the eWOM. We think that treating the volume of eWOM as an independent variable a priori is too restrictive. In order to remedy this problem, we employed a simultaneous equation in which the movie revenue and the volume of the eWOM can affect each other. That is, our eWOM model assumes that the revenue (LNREV) and the volume of eWOM (LNMSG) have endogenous relationship where they influence each other. The results from this simultaneous equation model showed that the movie revenue and the eWOM volume interact each other. The movie revenue influences the eWOM volume for the entire 8 weeks. The reverse effect is more complex. Both the volume and the valence of eWOM affect the revenue in the first week, but only the volume affect the revenue for the rest of the weeks. In the first week, consumers may be curious about the movie and look for various kinds of information they can trust, so that they use the both the quantity and quality of consumer reviews. But from the second week, the quality of the eWOM only affects the movie revenue, implying that the review ratings are more important than the number of reviews. Third, our results show that the ratings by professional critics (CRATING) had negative effect to the weekly movie revenue (LNREV). Professional critics often give low ratings to the blockbuster movies that do not have much cinematic quality. Experienced audiences who watch the movie for fun do not trust the professionals' ratings and, hence, tend to go for the low-rated movies by them. In summary, applied to the Korean movie ratings data and employing a simultaneous model, our results are different from the previous eWOM studies: 1) Koreans (or Asians) care about the others' evaluation quality more than quantity, 2) The volume of eWOM is not the cause but the result of the revenue, 3) Professional reviews can give the negative effect to the movie revenue.

• The Journal of the Korea Contents Association
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• v.5 no.6
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• pp.193-208
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• 2005

The purpose of this study was to look into Korean film criticism that started during Japanese occupation. It's specifically attempted to shed light on the development and significance of Joseon film criticism and on film movement theory as part of the history of Korean early modern film criticism. When kino-drama that could be called the start of Joseon movies was popular, enlightenment-based view of movie was rampant due to the inflow of western civilization and modernistic consciousness. Afterwards, the nature of movie itself drew a lot of attention from contemporary people in the silent picture days, and there appeared a critical trend in pursuit of artistry. Diverse criteria of criticism about reality and representation were presented, and a lot of disputes were eventually stirred up. Thus, criticism started to make a progress. A proletarian film movement theory, the so-called KAPF film campaign that was prevalent from the mid-1920s to the mid-1930s, was one of leading contemporary movie theories and took the lead in critic community. That had a great impact on the entire Joseon film circles. That took a proletarian view of movie, which was based on Bolshevik theory of Popularization and dialectic historical materialism. their criticism made a contribution to providing information on foreign movies and theories and to presenting main principles and multiple alternatives toward film organization and playing.

• Cartoon and Animation Studies
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• s.31
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• pp.227-248
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• 2013

With the advancement of computers, opening title sequences in movies are continuously improving. Initially, titles and opening credits were created using what is called the optical method, whereby text was photographed on separate film and then copied onto the movies film negative. In contemporary movie making, however, the title sequence may be seamlessly integrated into the beginning of the movie by an insertion method that not only allows for more diverse technical expression, including the use of both 2D and 3D graphics, but also for its emergence as an independent art form. As such a title sequence, in as little as 50 seconds or up to 10 minutes, is able to convey the films concept while also suggesting more implicit intricacies of plot and thereby eliciting greater interest in the movie. Moreover, according to the directors intent and for a variety of purposes, the title sequence, while maintaining its autonomy, is inseparable from the movie as an organic whole; therefore, it is possible to create works that are highly original in nature. The purpose of this study is to analyze the kinetic typography that appears in title sequences of ten films produced by the Korean entertainment industry in 2012. Production techniques are analyzed in a variety of ways in order to predict the future direction of opening title sequences, as well as present aesthetic and technical models for their creation.