• Journal of Information Technology Services
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• v.18 no.3
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• pp.37-51
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• 2019

This study aims to establish the direction of development of Korean cinematography technology in the era of the 4th Industrial Revolution and present future development plan. First, in order to diagnose the current status, supporting policies of various countries and film technology research trends were analyzed. Each country is expanding the support for film technology including tax credits. Through the analysis of patents and research papers, recent issues have shown that Virtual Reality, HMD, Artificial Intelligence, and Big Data are applied to film technology. Next, the survey results of Korean film technology level for filmmakers were 70% for production, 47.5% for distribution, and 60.3% for screening comparing to the level of the leading country. The gap was caused by the lack of funds for research and development and insufficient government support policies. In addition, interviews with film makers revealed the need to support filmmaking that combines technologies such as localized film technology, artificial intelligence, and deep learning. Finally, it is suggested that technology sharing platform should be developed in the future through the discussions of technology, science and academic experts', and technology development should be carried out in the field. As a result, film technology R&D should be promoted in order to develop technologies specific to movies. Advanced technology foundation for the growth of film technology should be developed to systematically equip the infrastructures such as education and human resources. In addition, technology development that links standardization should be carried out. In this study, we propose the development of Korean film technology to prepare for the 4th Industrial Revolution, and it is expected that the 2022 film technology power nation will be realized.

• Trans-
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• v.5
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• pp.1-27
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• 2018

What is 'analyzing a movie'? And, what is 'its role in film studies'? The question required a systematic and scholarly answer, and filmologie was making a clear place for itself. Through psychology, aesthetics, text theories and of course semiotics, the conceptualization of 'film' has been formed. Deleuze, who has been continually writing about 'movies' in his philosophical essays, ended the debate in defining the relationship between 'image and essence' when he released 《Movie 1, Movement-Image》 in 1983. 'Film' rapidly became the topic of the century and became a 'device' that leads the way of thinking. The reason why Jean-Louis Boissier labeled this 'film' as 'device (le dispositif)' was not part of film studies. What should be noted is that the mention of 'film' became a key part of the debate of 'reproduction', which was the most popular subject of philosophy and humanities. In the digital era, the film is once again questioned about its definition. In retrospect, themes of core debates of 'History of cinema' have always been driven by simple and superficial technological changes. With the emergence of CG (Computer Graphics), the question of 'cinema' in the 21st century is not only a philosophical discussion on the problem of 'reproduction', but also a crucial change that shifted the focus of the debate on the nature of the film from 'production' to 'distribution'.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.238-250
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• 2011

In 2006, the number of days of the screen quota (theatrical movie screening days of Korean produced films in a year required by the law) was reduced to 73 days from 146 days per year. Three years after the reduction of screen quota, this paper studies the impact of reduction of screen quota system on Korean produced films. Using Non-parametric statistics, Gini Index and Regression analysis, this study shows that the average number of Korean moviegoer of Korean films which was released last three years(2007-2009) after the cutback of screen quota in 2006 is reduced to 640,109.9123 from 1,107,217.82 for three years(2003-2005) before the cutback. And this is significant in statistics. while Hollywood film gets 76,168,518 more audiences than the total number of audience for 2003-2005, the total numbers of Korean films is cut to 218,917,590 (2007-2009) from 245,802,356 (2003-2005). Gini Index of 2009(0.84) indicates that the inequality of a distribution of box office performance of Korean films is getting worse after the cutback. For now, the reduction of screen quota has negative effects for Korean films. Only the technological advance, education of relates personnel, redesigning of the related infrastructure, market-driven movies, creative production, and the promotion of the independent films can reduced the negative effects.

• Korean Management Science Review
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• v.32 no.1
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• pp.133-145
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• 2015

Motion picture industry in Korea has been growing constantly and aroused various kinds of research attention. Particularly, the introduction of official box-office database service brought quantitative studies. However, approaches based on diffusion models have been rarely found with domestic film markets. In addition to the fundamental statistical review on Korea and US film markets, we applied a diffusion model to daily box-office revenue. Unlike conventional preference of Gamma distribution on the film markets, estimation results proved that BMIC can also explain the trend of daily revenue successfully. The comparison with BMIC showed that there is a distinctive difference in diffusion patterns of Korea and US film markets. Generally, word-of-mouth effect appeared more significant in Korea.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2019.05a
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• pp.37-40
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• 2019

On this paper, we show the way of forming graph data structure via setting an edge between Korean actors if they appeared in the same movie. From this graph, we calculate the 'centralities' (which declared on this paper) for each actor, then examine distribution by ranking the actors of the centralities and analyze the change of the actor who is/was center on the graph by years. Finally, we suggest the way that sets the numerically Range limits on social group.

• International Journal of Advanced Culture Technology
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• v.10 no.2
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• pp.181-186
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• 2022

In this paper, we examine the shortening of the theatrical window whereby films play at theaters for 90 days as one of the most portentous issues that could reshape the Hollywood film industry. We first examine the windows system that protected the status of movie theaters and the studios' attempt to shorten the theatrical release to create a premium VOD window in response to the declining revenue of DVDs after 2007 and the rise of streaming services. We then look at some of the major disruptions in distribution COVID-19 brought about. We also explore the shortening of the theatrical release in the wake of the pandemic and shows the changes in the theatrical release, along with the expansion of streaming services, raise questions over the long-held primacy of the theatrical release and the definition of film with the theatrical release as its part. From this, we highlight Hollywood at the crossroads of major changes with its future less certain than ever before.

• Cartoon and Animation Studies
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• s.26
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• pp.109-130
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• 2012

The purpose of this study is to suggest the direction of the development of the feature length animation for movie theater by analyzing of the reasons of the success of . released in 2011 has broken box office records by drawing 2 millions since drew 760 thousands in 1976. This can be one of the success model of the animation for movie theater, considering it has had trouble not only in planning ability and scenario power but also in producing environment where subcontracts are prevalent. This box office hit seems to have been possible through cooperation and division of movie crews and animation crews. Many kinds of materials are reviewed and producer Kim Seonku was interviewed for analysis of the reasons of box office success. Followings are five reasons of success found as the result of analysis and the body of this article is composed of the argument and analysis of each. 1.This animation was planned and produced in the same way of commercial feature films. 2.There was detailed division of work while producing 3. Various kinds of investments were made sequentially, 4. Major film distributor like Lotte and CJ could be motivated 5. There were producers who can mediate between the animation and film field This study suggests the direction both in the aspect of industry and the aspect of training professionals as the result of analysis. In the industrial aspect, transitional cooperation is needed between animation filed and film field which can motivate distributor. Industrial approach like planning, investment, distribution and marketing is absolute for the success of animation for movie theater. Also in the aspect of training professionals, curriculum needs to be improved in the university because the ability and passion of the professionals in the field of animation industry are the most important and education is the most approachable way.

• Journal of Intelligence and Information Systems
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• v.22 no.2
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• pp.97-113
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• 2016

Due to the growth of internet data and the rapid development of internet technology, "big data" analysis is actively conducted to analyze enormous data for various purposes. Especially in recent years, a number of studies have been performed on the applications of text mining techniques in order to overcome the limitations of existing structured data analysis. Various studies on sentiment analysis, the part of text mining techniques, are actively studied to score opinions based on the distribution of polarity of words in documents. Usually, the sentiment analysis uses sentiment dictionary contains positivity and negativity of vocabularies. As a part of such studies, this study tries to construct sentiment dictionary which is customized to specific data domain. Using a common sentiment dictionary for sentiment analysis without considering data domain characteristic cannot reflect contextual expression only used in the specific data domain. So, we can expect using a modified sentiment dictionary customized to data domain can lead the improvement of sentiment analysis efficiency. Therefore, this study aims to suggest a way to construct customized dictionary to reflect characteristics of data domain. Especially, in this study, movie review data are divided by genre and construct genre-customized dictionaries. The performance of customized dictionary in sentiment analysis is compared with a common sentiment dictionary. In this study, IMDb data are chosen as the subject of analysis, and movie reviews are categorized by genre. Six genres in IMDb, 'action', 'animation', 'comedy', 'drama', 'horror', and 'sci-fi' are selected. Five highest ranking movies and five lowest ranking movies per genre are selected as training data set and two years' movie data from 2012 September 2012 to June 2014 are collected as test data set. Using SO-PMI (Semantic Orientation from Point-wise Mutual Information) technique, we build customized sentiment dictionary per genre and compare prediction accuracy on review rating. As a result of the analysis, the prediction using customized dictionaries improves prediction accuracy. The performance improvement is 2.82% in overall and is statistical significant. Especially, the customized dictionary on 'sci-fi' leads the highest accuracy improvement among six genres. Even though this study shows the usefulness of customized dictionaries in sentiment analysis, further studies are required to generalize the results. In this study, we only consider adjectives as additional terms in customized sentiment dictionary. Other part of text such as verb and adverb can be considered to improve sentiment analysis performance. Also, we need to apply customized sentiment dictionary to other domain such as product reviews.

• Journal of KIISE:Software and Applications
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• v.32 no.11
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• pp.1111-1120
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• 2005

In collaborative filtering systems most users do not rate preferences; so User-Item matrix shows great sparsity because it has missing values for items not rated by users. Generally, the systems predict the preferences of an active user based on the preferences of a group of users. However, default voting methods predict all missing values for all users in User-Item matrix. One of the most common methods predicting default voting values tried two different approaches using the average rating for a user or using the average rating for an item. However, there is a problem that they did not consider the characteristics of items, users, and the distribution of data set. We replace the missing values in the User-Item matrix by the default noting method using user coefficient of variance. We select the threshold of user coefficient of variance by using equations automatically and determine when to shift between the user averages and item averages according to the threshold. However, there are not always regular relations between the averages and the thresholds of user coefficient of variances in datasets. It is caused that the distribution information of user coefficient of variances in datasets affects the threshold of user coefficient of variance as well as their average. We decide the threshold of user coefficient of valiance by combining them. We evaluate our method on MovieLens dataset of user ratings for movies and show that it outperforms previously default voting methods.

• The Journal of the Korea Contents Association
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• v.14 no.7
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• pp.83-92
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• 2014

We examined the annual film distribution portfolio of a Korean film distributor, Lotte Entertainment, investigating how the company puts big-budget films and low-budget movies together. As a result, the distributor was found to invest more than 80% of its whole budget in producing medium-size movies. The more successful box office, however, was witnessed from big-budget films that the company spent more than 6 billion Korean wons. With respect to genre, comedy and drama were the most and second-most frequently produced. However, Those two genres were not the most successful genres in the box office. Korean movie-goers favored actions and thriller the most and second most. Comedy took only the third place of the Korean box office, signifying a discord between the portfolio and the Korean box office.