• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.257-267
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• 2021

This study warns of the dangers of pre-marketing that is too preoccupied with raising market expectations before release at the film market level, and provides practical implications that the lower the level of mismatch of market expectations, the more ideal performance can be achieved. The level of expectation before release and satisfaction after release were measured by each movie rating, and the difference was calculated as the inconsistency of expectations. In raising expectations before the release, the expert rating among the star power, director power, expert rating, and number of screens has a significant influence. It was confirmed that the level of expectation before the release had a positive effect on the rating after the release, but had a negative effect on the level of discordance. In addition, the hypothesis that the higher the expectation level before the release, the greater the inconsistency, and the hypothesis that the higher the expectation inconsistency has a negative effect on the box office level is supported. This provides various implications for marketing carried out before or after the release of a movie to film-related practitioners for products with low involvement or emotional content such as movies.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.141-152
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• 2020

This thesis is a study on the creation of characters of "personality actors and character actors" among the concepts of "star persona" of S. Prince. This study selected 7 representative films of Jung Woo-sung, a representative personality actor in the Korean film industry, and analyzed how 'Jung Woo-sung-character' is embodied in the film as a character component suggested by R. Dyer. In the traditional sense, the actor's acting has been highly valued for transformation and impersonation in character creation, but discussing the method of creating a character focusing only on the actor's acting in a movie acting implemented in combination with advanced technology I don't think it's suitable for movie acting research. Theorists such as R.Dyer and Edgar Morin, who studied film actors and stars, also emphasize that 'movie actors are different from theater actors' (by the film medium). Therefore, in this thesis, a detailed analysis of the acting of a personality actor was avoided. As Morin pointed out that the character in the movie can be implemented through the actor's image and type, not playing the type of role. I tried to propose the significance of this character creation method of the personality actor by analyzing actor Jung Woo-sung and his character.

• International Journal of Contents
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• v.9 no.1
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• pp.90-97
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• 2013

The L.A. riots, which happened during three days from April 29 to May 1, 1992, are viewed as the most deadly and destructive riots in American history. Depicted in blaring front-page headlines and violent pictures on television, this urban upheaval received epic exposure in many countries. In Korea, it was especially shocking due to the viewpoint that highlighted the conflict between Korean and African Americans. This paper aims to review the black-Korean conflict during the 1992 L.A. riots in a Korean movie, Western Avenue. It is a film that narrates the despair of Korean Americans in the context of the L.A. riots, while placing American ideologies on trial. It is the only feature-length film to portray the story of Korean Americans in the L.A. riots. This paper examines some of the factors that resulted from the 1992 L.A. riots before the discussion of Western Avenue. Then, the paper analyzes the story of the Korean American in the film, focusing on how this film deals with the black-Korean conflict during the 1992 L.A. riots.

• Proceedings of the Korean Information Science Society Conference
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• 2008.06a
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• pp.78-79
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• 2008

• Proceedings of the Korean Information Science Society Conference
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• 2010.06a
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• pp.138-139
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• 2010

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2010.05a
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• pp.294-295
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• 2010

• Cartoon and Animation Studies
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• s.27
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• pp.31-49
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• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.

• Korean Journal of Health Education and Promotion
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• v.31 no.2
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• pp.27-40
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• 2014

Objectives: While cinema is regarded in the contemporary popular leisure activities, the presentation smoking scenes in films has not been fully studied. We investigated Korean box-office hit movies by using content analysis. Methods: We sampled fifty-one hit films played in Korean cinemas during the period 2000-2013. Here, a hit film is defined as a movie viewed by at least 5,000,000 audiences. Results: We found that 78.1% of the Korean hit films contained smoking scenes, whereas only 15.6% of the American hit films were so. Films with the more frequent number of smoking scenes could be lined up in the order of crime, thriller, and action genres (p<.05). Smoking actors were leading roles, hence attractive characters appealing to the audience. Moreover, the smoking rate of female characters in the films was determined to be 3.66 times greater than the actual smoking rate of females in reality. Conclusions: Smoking scenes are likely to affect the audiences' cognitive priming and/or social learning with respect to smoking. Therefore, it would be necessary to set a restriction standard to the frequency of smoking scenes to appear Korean films, and to consider it as an important factor in the assigning a screening grade to such films.

• International Journal of Advanced Culture Technology
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• v.8 no.4
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• pp.58-63
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• 2020

In literature it is not only the meaning of words which matters, but also their texture matters i.e. their rhythm, colour and style are relevant and none of these natures can be reduced to an item of information. The texture is also important in film languages, especially the rhythm. In order to make the storytelling rhythm visible, a new concept of 'the Rhythm Chart Analysis Method (RCAM)' has been devised in this research and used for analysis. By analyzing original films and remakes in Korean and Chinese, one can find out that different countries have different storytelling rhythms i.e. the same story can be told in different rhythms. The central idea in Korean films is portrayed at the end, which is a typical characteristic of Korean films. And as the defining moment does not occur suddenly the audience can naturally get immersed into the story. But Chinese films communicate with the audience in a more direct way. It directly mentions characteristics of each actor in such a way that it is telling rather than showing. The information of the movie is given to the audience in the initial stages of the movie. Rhythm is as important as story and information. And through this we can find out the cultural differences from the different storytelling rhythms.

• Proceedings of the Korea Society of Costume Conference
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• 2004.10a
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• pp.120-121
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• 2004