• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• Cartoon and Animation Studies
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• s.48
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• pp.85-116
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• 2017

The purpose of this study is to analyze conditions that robots depicted in cinematographic works like animations or movies sympathize with and form an attachment with the nuclear person and organize characterizing strategies for emotional sympathetic robots. Along with the development of technology, the areas of artificial intelligence and robots are no longer considered to belong to science fiction but as realistic issues. Therefore, this author assumes that the expressive characteristics of emotional sympathetic robots created by cinematographic works should be used as meaningful factors in expressively embodying human-friendly service robots to be distributed widely afterwards, that is, in establishing the features of characters. To lay the grounds for it, this research has begun. As the subjects of analysis, this researcher has chosen robot characters whose emotional intimacy with the main person is clearly observed among those found in movies and animations produced after the 1920 when robot's contemporary concept was declared. Also, to understand robots' appearance and behavioral tendency, this study (1) has classified robots' external impressions into five types (human-like, cartoon, tool-like, artificial bring, pet or creature) and (2) has classified behavioral tendencies considered to be the outer embodiment of personality by using DiSC, the tool to diagnose behavioral patterns. Meanwhile, it has been observed that robots equipped with high emotional intimacy are all strongly independent about their duties and indicate great emotional acceptance. Therefore, 'influence' and 'Steadiness' types show great emotional acceptance, the influencing type tends to be highly independent, and the 'Conscientiousness' type tends to indicate less emotional acceptance and independency in general. Yet, according to the analysis on external impressions, appearance factors hardly have any significant relationship with emotional sympathy. It implies that regarding the conditions of robots equipped with great emotional sympathy, emotional sympathy grounded on communication exerts more crucial effects than first impression similarly to the process of forming interpersonal relationship in reality. Lastly, to study the characters of robots, it is absolutely needed to have consilient competence embracing different areas widely. This author also has felt that only with design factors or personality factors, it is hard to estimate robot characters and also analyze a vast amount of information demanded in sympathy with humans entirely. However, this researcher will end this thesis as the foundation for it expecting that the general artistic value of animations can be used preciously afterwards in developing robots that have to be studied interdisciplinarily.

• Cartoon and Animation Studies
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• s.36
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• pp.375-391
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• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.

• Cartoon and Animation Studies
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• s.13
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• pp.97-114
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• 2008

This study aims to study mouth shapes suitable to the shapes of Korean consonants and vowels for Korean animations by analyzing the process of English-speaking animation lip-sync based on pre-recording in the United States. A research was conducted to help character animators understand the concept of Korean lip-sync which is done after recording and to introduce minimum, basic mouth shapes required for Korean expressions which can be applied to various characters. In the introduction, this study mentioned the necessity of Korean lip-sync in local animations and introduced the research methods of Korean lip-sync data based on English lip-sync data by laking an American production as an example. In the main subject, this study demonstrated the characteristics and roles of 8 basic mouth shapes required for English pronunciation expressions, left out mouth shapes that are required for English expressions but not for Korean expressions, and in contrast, added mouth shapes required for Korean expressions but not for English expressions. Based on these results, this study made a diagram for the mouth shapes of Korean expressions by laking various examples and made a research on how mouth shapes vary when they are used as consonants, vowels and batchim. In audition, the case study proposed a method to transfer lines to the exposure sheet and a method to arrange mouth shapes according to lip-sync for practical animation production. However, lines from a Korean movie were inevitably used as an example because there has not been any precedents in Korea about animation production with systematic Korean lip-sync data.

• Journal of the Korea Society of Computer and Information
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• v.18 no.5
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• pp.157-165
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• 2013

The mid-20th century witnessed a wide spread of Korean culture in Japan, China and Southeast Asia and China now has become the biggest trade partner and export market, as well as the No. 1 source of import and the biggest investment country of Korea. With the spreading of the Korean popular culture in China, brand loyalty to Korean products is improved. Taking the Chinese market as the basis, this research aims to make an analysis of the implications of 'Korean Wave', Korean advertisements and the image of Korea on brand loyalty to cosmetics made in Korea. To achieve the research aim, questionnaires were used in conducting the survey, mainly in Beijing. Excluding the invalid ones, altogether 180 questionnaires were collected, based on which an empirical analysis was carried out on the correlation between 'Korean Wave', effects of Korean advertisements, image of Korea, brand recognition, and brand loyalty to products made in Korea. The major analyzing tools are SPSS 20.0 and AMOS 20.0. The findings are as follows: 1. Korean films, dramas, and attachment for Korean movie stars (representative of 'Korean Wave') all have a positive influence on brand loyalty. Recognition of the country image of Korea, to some extent, also has positive implications on brand recognition. 2. Empirical analysis assists in the testing of the degree of recognition and attachment of cosmetics made in Korea, as well as brand loyalty to them.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.655-664
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• 2013

The Korean film has not been on the board of Korean waves due to the limitation of the media accessibility. However, N-screen gives Korean films the chance of being on the board of Korean waves, especially in Asian country which have shared cultural codes. This study aims to demonstrate the possibility of Korean films in asia based on the analysis of Korean film viewers' motivation and media usage. For this purpose the 330 data were collected among Korean, Japanese and Chinese from Feb, 23rd through April, 5th in 2013. The results show the followings; 1) Korean viewers have the strong preference of cinema theater to other media such as PC, VCR/DVD player, tablet PC and mobile phones. Whereas, Japanese viewers prefer VCR or DVD players and Chinese viewers prefer PC and mobile phones. 2) In terms of viewing motivation, social utility is most important to Korean viewers while diversion to Japanese and Chinese viewers.

• Culinary science and hospitality research
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• v.21 no.4
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• pp.309-324
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• 2015

The foodservice industry is applying new marketing strategies, and advertisements are the best way to convey their distinctive brand images. The foodservice companies have been choosing a type of advertising called Product Placement(PPL) because it is unconsciously shown more often than other types of advertisements while customers are watching a movie or TV drama. Therefore, the aims of this research were to investigate the influence of the customers' perception of PPL inserted into TV dramas on brand image and purchasing intention. Additionally, present study performed to identify the differences between Korean and Chinese customers. For the survey, the study used both offline and online sampling methods, and the analyzed data was from 150 Korean and 150 Chinese respondents. As results, the more respondents were positive and familiar about PPL, the higher the brand image and purchasing intention. Chinese consumers had positive perception of PPL, which positively influenced the brand image and purchasing intention while Korean consumers' ethical awareness about PPL had a negative influence. Therefore, the Korean foodservice industry needs to differentiate the strategies for the PPL marketing between the Korean and Chinese market.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.10
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• pp.6527-6533
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• 2015

It is generally accepted that there are differences between men and women in linguistic communication style. Genderlect is a socio-linguistic term to refer to the linguistic differences spoken by specific gender. Some linguistic features are provided as evidence to show the genderlects: pitch, lexicon, intonation, grammar and styles. The purpose of this paper is to compare the characteristics of genderlect in English and Korean. To do so, I analyzed the scripts of an English movie, 'Mrs. Doubtfire' and Korean tv drama, 'Oohlala couple'. In "Mrs. Doubtfire, tension and laughter arose out of discrepancy from the way he looked (as a woman) and the way he spoke (like a man). The same is true with "Oohlala couple." In the language of Mrs. Doubtfire, male speech characteristics with nouns were salient while in "Oohlala couple" with verb forms, especially with honorific style, which shows a difference between Korean and English genderlect. Korean language has special genderlect characteristics with honorific speech style realized in verb endings. In Korean the highest honorific speech style, 'Habsho-che' is used in official situation and men are more accustomed to it than women. When women have to use polite expressions they have to choose between the highest honorific style, 'Habsho-che' losing the female characteristics or the second highest honorific style 'Haeyo-che' keeping the female characteristics.

• Cartoon and Animation Studies
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• s.16
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• pp.125-140
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• 2009

In the1970's, Korean movie industry was down because of widely supplied Television. During the time, directed by Kim Cheong-ki was Big hit at the box-office that is bring Korean feature animation industry back to life. In 80's, when new military regime started, SF animation was prohibited to be on air by government because that assumed have bad influences on children, and korean animation industry was faced with recession, such as various imported foreign animations which were on color TV and wildly provided video recorders. At that time, director KIM Cheong-ki try to overcome the recession of animation industry by producing, < David and Goliath>, which was based on the Bible. The Bible, was based on the historical facts and had written by the time flow, that made few changes while it was transformed to a feature animation. Animation does not only reproduce the reality as it is, but also analyzing the story to create a new reliable world, by changing characters, creating new supporting characters, and expanding and reducing of narrative. Despite of such an effort, didn't achieve it's goal at the box office and not satisfied audience either because it was excessive reproduction of the Bible, not standing on the basis of those days social and cultural environment and popularity. This study is aimed at confirming changed narrative shown Kim Cheong-Ki's, and compare it with two other animated, directed by others, so that suggest the new direction of the religious feature animation production.

• Korean journal of communication and information
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• v.46
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• pp.627-670
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• 2009

This study analyzed Korean Fair Trade Commission's judgemental cases of cartels in telecommunications and media industry and presented the following results. First, cartels were formed frequently in multi-channel broadcasting industry, telecommunications industry, movie industry, and newspaper industry. In addition, price-fixing were observed in almost all subfield of telecommunications and media industry. Second, administrative guidance facilitated more opportunities for collusion in the telecommunications industry than in the media industry. Third, the telecommunications and media industry, similar to overall domestic industries, had a high proportion of hard-core cartels. Fourth, the depth of judgemental case in evaluating agreements among competitors was generally low, even though detail evaluations were found in the cases of large fines. Fifth, the overall level of sanctions was relatively low.