• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.133-140
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• 2010

It is said that the highlight in the media covergence and integration within digital environment era is 'Contents'. Due to the advent of new media and various covergence and integration services, the competition between the platforms has become aggressive. As a result, it is predicted that the negotiation power of a 'Content's industry will be strengthened. In reality, the actual environmental changes in the media environment have accompanied elements of industrial crisis rather than opportunity to expand the market. The changes are especially causing sales structure distortion and proceeds deterioration in the Korean film industry. Moreover, telecommunication and broadcasting businesses are making their entrance into the film industry, through the appearance of the media covergence and integration as a backdrop. Thus, the situation that the Korean film industry is facing is closely associated with the development of the digital technology and new media environment. Eventually, weathering the crisis and pioneering the future will be possible through changes in the media environment. The purpose of this study is to show how the media covergence and integration phenomenon is occurring in the film industry. This study will also focus on what new problems are occurring as a result, and seek out the solutions that are available.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.234-255
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• 2013

Korean Academy of Film Arts (KAFA) is the film school run by Korean Film Council (KOFIC). KAFA was established in 1984, benchmarking American Film Institute (AFA) and in order to foster manpower for Korean Movie under the US's pressure of domestic movie market opening in Korea. The Korean Movie market was open to the world by 1987 and suffered from the low Korean-produced movie market share of around 20% in the domestic market from 1987 to 1998. During the last 30 years, KAFA plays the key role in the Korean movie making industry. Of 520 of number of their alumni, the number of directors is 101, 33 of cinematographers, 18 of producers and 21 of professors in universities' film departments. Korean Directors, Bong Joon-ho of (2013) and topped over 10 million domestic admissions to become the most-watched Korean films of all time. Now, with KAFA's relocation to Busan following with KOFIC, their new roles are promotion of the film industry in Busan, recruiting and educating new talented Korean and foreign student filmmakers, becoming an international film school.

• Journal of the Korean Geographical Society
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• v.41 no.3 s.114
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• pp.245-266
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• 2006

This study aims to explain the emergence of Gangnam Region of Seoul as a new cluster of the Korean film industry in the context of its history of growth, recent development characteristics, and its production system. Statistical analyses of Korean industries and in-depth interview surveys to film producers were conducted. The results of the analyses show that there has been obvious tendency of film makers' move from Chungmuro, a traditional cluster of the Korean film industry, to Gangnam and many births of new film makers in Gangnam. This new cluster, however, is operating on informal networking between film makers and related personnel, not on formalized production system composed of specialized functions and labor market. Therefore, it can be called as loosely-articulated cluster. This form of cluster has much to do with production milieu of Gangnam, such as advantages of obtaining information and consumer trend, diverse atmosphere which makes it easier to meet diverse people, favorable environment to embed creativity and fresh idea, etc. This trend of the film industry to orient a specific area can be explained in conjunction with the uniqueness of the film industry, such as uncertainty, project-based work, generation gap between film makers, participation of large companies or increasing size of investment.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.214-225
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• 2013

Current production systems have been recognized as having contributed a dramatic growth in the Korean film industry. However, industry voices feel that the role of these production systems should be reorganized as the industry faces further needs for development process. Film development process involves item selection, scenario completion process, and packaging process, which include choosing the right director and actors in order to increase the chances of completion of the film as well as increasing probability of investment funds. Thus, film development is a very creative and practical businesslike activity at the same time. The purpose of this report is to study the producers' role and problems by comparing Korean film development processes to 'Produced By' of the PGA(Producers Guild of America) and suggest a solution for the improvement.

• 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.

• Journal of Digital Convergence
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• v.6 no.3
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• pp.131-138
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• 2008

The Film-making industry in Korea has significantly expanded during last decade. However, the development didn't necessarily mean there's improvement in terms of the quality of life for the film staffs. In post-production stages, especially, any workers involved in the production can get tremendous amount of mental pressure and stress due to the deadline. Thus, in this period, most labor issues are found and often ignored. In this research, compared to Hollywood, Korean domestic film industry will be analyzed with focus on labor organizations. Their role will be explored and examined in terms of improving the qualify of life as well as of the film itself.

• The Journal of the Korea Contents Association
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• v.6 no.7
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• pp.111-118
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• 2006

This paper aims at exploring the efficiencies of Big 3 Multiplexes(CGV, Lotte Cinema, and Megabox) in Korea over the 3 years between 2002 and 2004. For the Korean Film industry, the years 1998 over were a period of challenge and extreme transaction due to building of multiplex that began in 1998. This paper begins with the present state of film market and multiplexes in Korea and provides an overview of the reasons why Korea film industry have been sharply increased in customer growth. The purpose of this paper is to investigate the film industry competition power for multiplex according to the technical and scale efficiency scores of DEA(Data Envelopment Analysis) method.

• The Journal of the Korea Contents Association
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• v.20 no.7
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• pp.195-202
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• 2020

The Korean film, which reached its 100th anniversary, has achieved remarkable growth. However, contrary to the facts revealed to the outside, there existed chronic problems. Representatively, the problems were classified into four types: vertical integration problems, lack of support for art and independent films, lack of diversity in video content, and sluggish exports. Therefore, in order to continuously develop Korean films, this study explored the development methods of the domestic film industry using the window theory of opportunity. As a result of the research, the Korean film industry as a late chase was developed through strategies to enter new technologies and paradigms, and strategies to enter through low entry costs for existing digital platforms, active government intervention, and changes in regulations. Through this, it was revealed that the whole film ecosystem should ultimately go through symbiotic cooperation.

• Journal of the Korea Convergence Society
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• v.10 no.9
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• pp.133-140
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• 2019

The Korean Film Council which manages the Film Development Fund carried out a number of projects to support film production, distribution, and film policies. Also, this organization participated in promoting advanced film technology and foreign film location by constituting an incentive support. The projects consist of support for the operation of Namyangju filming studio and the film information system as well. It is necessary to scrutinize the projects regarding support for film production, which is the largest and most important among the whole projects, for continuous development of the Korean film industry. this study reviwed the fundraising status, budget, and support projects of the Center for National Film/Video Center CNC which operates the film fund in France analyzed film production support policy of the CNC. Through this, we verified necessity of stable financing and funding of the Korean Film Development Fund, support for creation of film music and support for overseas filming, and prepared activation plans for film co-production.

• 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.