• Journal of Korea Multimedia Society
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• v.17 no.12
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• pp.1528-1536
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• 2014

Although the process about korea image restoration contents program development and liberalization have cultural and artistic worth, it is not possible to restore technically or cost enormous expense. In the study, it suggest the needs of korea image restoration contents program development through image restoration case. It is revitalize that the study in digital image restoration technical prepare the ground for passing high-qualities cultural legacy by restoring classical film. We think the development of korea image restoration software will strengthen the basis to the new creation industry of high value-added in the global cultural prosperity industry.

• KOREAN JOURNAL OF PACKAGING SCIENCE & TECHNOLOGY
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• v.7 no.2
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• pp.1-5
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• 2001

This study was measured weight loss, total ascorbic acid, titratable acidity, and soluble solids content and overall appearances to investigate the effect of FC(corrugated fiberboard box laminated with functional MA film)box, LDPE film, CE(functional MA film)pouches and double wall corrugated fiberboard box during storage at $20^{\circ}C$. Weight loss of tomato packed with control, LDPE, CE and FC box at $25^{\circ}C$ after 7 days were 5.3%, 1.5%, 1.3%, and 1.5%, respectively. Weight loss of control was 3.8% higher than that of FC box. Total ascorbic acid content(TAA) of tomato after 7. days, control was 6.89 mg%, LDPE was 8.62 and CE was 8.53mg%, FC was 8.42mg%. TAA of LDPE, CE and FC was higher than that of control. Titratable acidity of tomato packed with LDPE, FC and CE was higher than that of control. Overall appearances of tomato packed with LDPE, CE and FC was better than that of control. Functional MA film laminated in corrugated paperboard box(FC) showed to be able to used as a packaging box of tomato.

• 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 Korea Entertainment Industry Association
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• v.13 no.8
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• pp.157-165
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• 2019

With the deepening cooperation between China and South Korea in the field of film, the ways of cooperation between China and South Korea are becoming more and more diversified. "One text, two productions" film cooperation mode refers to the filmmakers of two countries sharing script resources, using the same script to create films separately. South Korean Extreme Job(극한직업) and Chinese Lobster cop(龙虾刑警) are the products of this cooperation model. The scripts of the two films originated from the China and South Korea story joint development plan(중한시나리오공통개발프로젝트) in 2015. After winning the award, the script were filmed by Korean and Chinese filmmakers. Filmmakers in two countries adapted the script to different degrees according to their respective cultural backgrounds and aesthetic characteristics. The film cooperation mode of "One text, two productions" promotes the development of transnational cooperation and opens up a new way of film cooperation.

• Journal of the Korean Society of Industry Convergence
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• v.11 no.4
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• pp.171-175
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• 2008

The bigger size of the wafer to the meet the need of higher productivity and the smaller digital products for convene are examples of the main trends of the market among others. The higher integrity of chips is also an important task in semiconductor industry. In this thesis the COF(chop on film) technology has reviewed to investigate the best combinations of required functions and to develop a new system to save the installation area and to adapt to the variation of layout with flexibility. The new system shows the better and provides the improved safety with smaller size.

• Journal of the Korean Society of Industry Convergence
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• v.25 no.2_2
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• pp.199-208
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• 2022

The steel wire or steel bar processing process applied to the manufacture of various bolts and power transmission shafts was improved by applying in-line phosphate film treatment technology. By applying a polymer lubricant for a non-reactive metal forming process and a non-reactive non-phosphorus lubricating coating agent, the film formation for each process time was comparatively analyzed and reviewed. Compared to the nine processes applied previously, the in-line phosphate film treatment technology applied with only two processes has been effectively improved in terms of reduction of treatment time, reduction of facility installation area, prevention of water pollution due to wastewater, and non-use of ozone-depleting substances. In addition, it was found that it can have an important effect on productivity improvement and price competitiveness from the simplification of quality control and process control as well as improvement of the working environment.

• Journal of the Economic Geographical Society of Korea
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• v.20 no.4
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• pp.453-485
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• 2017

One of the oldest chestnuts in economic geography is this: Cultural and creative industries strongly gather in large cities and this geographic concentration of economic activities leads to regional development. Of course, depending on the circumstances, such a proposition still holds good. But, under the current paradigm shift to knowledge-based economy, it may be open to question. This study aims to investigate financing and knowledge accumulation in the film industry through an alternative framework for explaining their spatial distributions, "formation mechanism of economic space." From the fact that their production organizations are formed on a project basis, project-based financing structure in the investment stage and knowledge accumulation process in the production stage form both axes of it. Film industry as the most mature industry among the cultural and creative industries does not always concentrate in a certain place (industrial agglomeration) or show metropolis-oriented preference. This allows us to reconsider our long brooding theory.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.27-37
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• 2019

This study empirically identified and sought implications for the degree of desire by film crews to participate in overseas production and the factors affecting them, based on the recognition that the active participation of skilled film crews in overseas production and joint ventures can be an alternative to the poor treatment of domestic film industry sites and the reduction of job losses due to problems with career barriers. In order for respondents to verify research questions, binomial logistic and marginal effects analysis using SPSS and STATA, the data obtained by surveying 402 film crews operating in various areas. The notable findings are as follow: First, about 65%(263 people) of the respondents expressed their desire to participate in overseas activity, indicating that a considerable number of film crews are looking forward to opportunities with overseas productions. Second, major factors that have a positive effect on film crews' need to participate in overseas activities have been found to be professionality, artistic identity, Korean Wave persistence, and career barriers. In other words, the higher the professionality, the more clearly the identity of the artist, the more positive expectations of the possibility of the Korean Wave continuing, and the more serious the problem of career disability, the clearer was the desire to participate in overseas production and joint-work activities.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.7 no.5
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• pp.982-991
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• 2006

The screen quota system is one of the most controversial issues in the Korean film industry. There are two different points of view regarding the system. Some say it is highly effective to protect and nurture Korean movies. However, others argue that it hurts the duality of the Korean movies. The number of days, for which Korean movies have to play on local screens, has been reduced to 73, starting on July 1st, 2006. Actually, it is 50 percent fewer than the previous year. In facL Korea has implemented the screen quota. system two times. First, it was practiced from 1935 to 1945, during the Japanese colonial period. This was to regulate imported movies, especially American ones, as the Japanese government was to use movies for the political propaganda. In 1935, the number of foreign movies screened had to be less than three fourths of the total. And they gradually reduced the size by two thirds in 1936, and again by half in 1937. After the attack on Pearl Harbor when the Pacific War happened, Japan completely banned importing American movies in Korea. The reason why it regulated the imported foreign films is to increase the number of domestic movies, both Japanese and Korean. It was for making propaganda films fur carrying the war. The second practice of the screen quota is from 1967 to the present year. It was designed to boom the Korean film industry. However, the competitive power of Korean films has not been improved in spite of the practice of the system. Moreover, the film industry has gone through the depression. Korean film agencies have occupied the Korean film market thanks to the protection by government. The founding of the film agencies has been strongly regulated. So has importing foreign movies. Under the special protection like this, Korean film agencies have been enjoying the monopoly In the mean time, they have pursued income not by making quality movies but by importing foreign movies. As a result, cinema audiences turn away form Korean films and prefer foreign movies. Furthermore, the screen quota system hurts the relationship between film producers and distributors, imposing the duties only on theaters. In short, the screen quota system has satisfied neither film producers, theater runners, nor film goers. In other words. the excessive protection has weakened the competitive power of Korean film industry.

• Journal of the Korea Society of Computer and Information
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• v.19 no.12
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• pp.57-70
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• 2014

The study proposes an exploratory analysis on the success of animation films in Korea industry. It identifies animation films that have been successful in the Korean film industry during 2004-2013 period and explores (1) how the number of screens allocated to the films have been changed; (2) what are the major factors that influence the success of the films; (3) what are the differences between Japan and the US animation in terms of plots and genres; and (4) how the characteristics of the US animations are related to the success of the US market, the global market, and Korean market. Analyses show that the number of screens allocated to the animation films has been consistently increased due to the vertical integration of Korean film industry; and the (FTA) period, months in year (summer and winter break months for middle and high school students), and the number of screens allocated to the films were the major factors influencing the financial success of animations. It also finds that specific characteristics embedded in its own cultural trait were shown in the plots and genres in the animations. Lastly the study also finds that specific set of characteristics extracted from IMDB site influence certain markets. Budgets and actor's power were found to influence the success in the US market while period (pre-FTA, FTA, post-FTA) only influence the success in Korean market. The study points out that the success of the US and Japan animations in Korean film industry are due to the historicity of animation cultures which are not found in Korean animation industry.