• The KIPS Transactions:PartC
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• v.13C no.4 s.107
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• pp.389-396
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• 2006

P2P(Peer To Peer) system, a most attractive file sharing system, is the largest channel of contents distribution and it takes 50% of network traffic. But P2P systems are infamous for used to illegal contents distribution channel not only in music industry, but also in movie industry. But, DRM(Digital Right Management) enabled P2P models are not suggested until now that interrupting illegal contents distribution and keeping advantage of P2P. So in this paper, we suggest a DRM enabled P2P model that can support distributed processing ability and high scalability with no modification in exist P2P model or architecture.

• The Journal of the Korea Contents Association
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• v.21 no.9
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• pp.477-492
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• 2021

The purpose of this paper is to examine the problems caused by the lack of institutional establishment of broadcasting contents' concept, to present the categories and significance of broadcast contents concepts, and to promote discussions on defining broadcasting contents concepts. As the pattern of enjoying contents becomes fragmented, broadcasting contents such as dramas, entertainment, and documentaries are enjoyed in various ways through N-screens, beyond the distribution structure of the traditional broadcasting industry. But, the concept of broadcasting contents is subordinate to(or even absent from) the distribution structure of the broadcasting industry. This paper seeks to correct this problem by proposing a new definition of broadcasting contents. First of all, as a result of looking at the need to define the concept of broadcasting contents in various ways in principle, legal, and industrial aspects, broadcasting contents needed to be defined as a new concept independent of broadcasting media. Based on this, the existing discussions on the concept and type of broadcasting contents were reviewed to confirm the direction for establishing broadcasting contents concepts, and to define broadcasting contents into higher categories (liberal arts, entertainment), and lower categories ('documentaries, current affairs, education', 'dramas, animation, music, variety, sports').

• 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.

• Journal of Digital Convergence
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• v.17 no.3
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• pp.449-454
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• 2019

This study was designed to present the direction of Korean K-beauty by examining awareness, selection attributes, and satisfaction of the Chinese on Korean brand mask packs, which currently rank among the top 10 mask packs in China's beauty market. As a result, the perception of Korean Wave, especially entertainment / music preference, has a positive (+) effect on Korean mask pack choice attributes. Also, it was found that the influence of the Korean Wave greatly affected both satisfaction and repurchase intention. The increase of Chinese women's consumption and the appearance of the society due to the advancement of the society also affects the appearance. However, the safety and efficacy of the product has yet to be established. If the improvement of these technologies and the countermeasures of domestic cosmetics companies are provided, Korea's K-Beauty industry will be more active in the domestic and overseas markets.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.85-95
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• 2020

An Instruments are not only for musical usage, but also for historical, social and cultural contexts. The yanggeum instrument began to be played in Persia before the 10th century and is played in various parts of the world in the 21st century. It has been handed over for many years and played creatively beyond the boundaries of the region. In this paper, we will learn about the meaning of Korean traditional yanggeum, which preserves its original shape without any change in form or technique, through a method of musical iconography. As a method of musical Iconography for the musical instruments, we examined the data on the drawings and compared it with the literature, focusing on the origin, form and performance of the instruments. I hope that this study will not only provide a new perspective on instrument research, but also help understand the historical, social and cultural implications of the instrument. It is hoped that research on musical instruments will be done in many different ways and that the realm of musical science will be approached widely.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.31-43
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• 2021

The talk of today's era is innovation and convergence. Convergence can be seen as innovation because convergence is born through innovation and innovation is made through convergence. Crossover and collaboration (collectively referred to as "crossover") which are used as a concept of convergence in popular culture means the combination and integration of different genres or fields, and has recently been used in various fields such as movies and music. The use of crossover helps to break boundaries with other fields and create new works through free and diverse attempts. Thus, in this study, the convergence of popular culture, or crossover, is analyzed in conjunction with the Korean horror genre. Currently, Korean horror movies were popular from the 1990s to the early 2000s, but now only a few are coming out due to a series of poor box office performances. However, according to this study, crossover attempts have already begun in Korean horror films, and traces of crossover have been found in several successful films. In this study, we will further apply a collaboration of characters such as "Avengers" to present a new direction for Korean horror movies.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.121-131
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• 2020

The study of arrangement in musical theatre has been relatively marginalized compared to the playwriting and composition. However, as complete musical music can never exist without the process of arranging, the arranger is a major creator who plays the most important role as a playwright or composer, and finally makes a decisive contribution to enhancing the completeness of the musical. Based on the tracks of (2006), (2007) and (2008), among the prestigious Tony Awards winners for Best Orchestrations, the feature is divided into instrumentation, instrumental combinations and dispositions, and insertions of counterpoint. So, we can discover the new imagination and creativity of the arranger, and the arranger's clever orchestration techniques that meet the composer's intentions.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.1-14
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• 2020

This study conducted a topic modeling and semantic network analysis of 'korean wave' and its meaning in Korean society from 2000 to 2019 by applying an agenda setting theory. For this purpose, a total of 197,992 newspaper articles which reported 'korean wave' issues were analyzed by applying topic modeling and semantic network analysis. As a result, first, the word 'korean wave' mainly appeared in korean-related regions in the korean press. culture and economy. second, a total of 9 topics related to korean wave issues appeared. This was followed by 'broadcast', 'export', 'domestic and foreign affairs', 'education', 'beauty and fashion', 'music and performance', 'tourism', 'media(platform)', and 'region'. Lastly, korean wave was mainly discussed at the cultural and economic ares. In addition, it was clustered into five characteristics: 'cultural hallyu', 'business hallyu', 'education', 'environment', and 'geography'.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.209-221
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• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.67-72
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• 2019

Animation is a comprehensive audio-visual art, animation literature, painting, music, architecture, photography and other art forms are integrated. China's animation industry has made some achievements in the new century, but on the whole, with the globalization of China, China's animation industry has been influenced by Japan and the United States. China has a history and culture of five thousand years, with profound social deposits and cultural foundation. Of the four ancient civilizations in the world, the Chinese civilization is the only one that has survived. China has too many stories to tell. From the development history of Chinese and foreign animation, we can see that many Chinese traditional cultural elements are used for reference. Since the 1980s, Chinese animation has been on the road of national revival. Chinese animation has begun to draw close to traditional culture in terms of themes, characters and scenes, and integrate Chinese traditional cultural elements. The theme of big fish and begonia is to repay kindness by sacrificing one's own life for the sake of justice and friendship. This fearless spirit of sacrificing one's life for justice is the concentrated embodiment of the fine qualities of the Chinese nation over the past several thousand years. Kun to save chun and give up his life, chun in order to repay rather give up half of his life, and qiushui in order to help their beloved, also would rather give up all of their own. These three protagonists are very distinctive personality characteristics, are to "righteousness" and give up their most precious things. At the same time, big fish and begonia combines many traditional Chinese cultural elements to form an animated film with Chinese characteristics.