• Journal of Korean Theatre Studies Association
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• no.48
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• pp.509-547
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• 2012

The Seoul Arts Center is an representing Korean arts-complex consisting of the Opera House, the Concert Hall and the Museums. Since its opening in 1993, it has been established as a mecca of arts and the culture in Korea. Many local public theatres in Korea are benchmarking its operating system and policy. Unlike most European or American theatres, the Seoul Arts Center has no resident art companies. It is not a 'producing theatre' whose programming is mainly based on house productions with resident companies, but a 'presenting theatre' that is to be managed with rental and invitation programs without resident companies. The majority of the Korean public theatres are also presenting theatres. This study aims to research and analyze how the Seoul Arts Center has developed the programming of the Opera House for last 19 years and which challenges and issues it has been dealing with, and finally to propose what will be recommendable remedies for its successful future. The analysis is divided into four development stages: preparation period from 1981 to 1992, establishment period from 1993 to 1999, growth period from 2000 to 2006, and lastly crisis period from 2007 to 2011. Facing the 20th anniversary next year(2013), the Opera House of the Seoul Arts Center is going through recent critical situations: higher competitions among increased theatres, trends of commercial musical productions, and rapid declines in its house programs due to the low budget and unclear programming policy. I propose as a discussion to start a repositioning strategy as a Korea's representing arts-complex, utilizing all sources from inside and outside and having the policy direction.

• Digital Contents
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• no.8 s.159
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• pp.80-83
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• 2006

세 명의 주인공이 팀을 이뤄 마법을 풀어나가는 판타지 어드벤처 TV용 애니메이션 시리즈가 조만간 안방극장에 선보인다. 에네메스가 2002년부터 기획, 개발에 착수해 지난해에는 해외에도 출품된 바 있는 <지-스쿼드(ZSQUAD)>가 그 주인공이다. 그리스로마신화에서 모티브를 따서 완구, 게임 등의 원소스멀티유즈를 염두에 두고 기획된< 지-스쿼드>를 미리 만나본다.

• Cartoon and Animation Studies
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• s.40
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• pp.287-314
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• 2015

This study tries to analyze the portfolio of production budget related to Hollywood animation movies released during the five years between 2010 and 2014, in order to investigate how blockbuster strategy made the box office performance. The analysis shows that this animation genre invested more than one thousand million dollars as the average budget for each film. It increased threefold in the box office result. In the production of Hollywood animation genre, 72.2% of its whole production money was found to use for movies investing more than one thousand million dollars. It is to show how the production of animation aimed for profit-making via blockbuster strategy recognized as the most successful portfolio strategy in the recent Hollywood film industry.

• 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.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2008.02a
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• pp.39-42
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• 2008

인터넷의 급격한 발달에 의해 최근 인터넷 예매를 통해 극장을 이용하는 관람객이 지속적으로 늘어나고 있다. 또한 인터넷 예매 시 자신이 앉고 싶은 좌석을 지정할 수 있는 시스템이 증가하고 있다. 하지만 적절하지 못한 티켓팅 알고리즘으로 인해 좌석이 중복으로 할당 되어 공연장에서 고객들이 원하는 좌석에서 공연을 관람할 수 없는 피해가 속출하고 있다. 이러한 피해 상황이 발생하면 예매대행업체, 공연 기획사 등의 예매 관련 업체들은 고객들에게 신뢰를 잃어버리게 된다. 그러므로 좌석 지정 예매 시스템 개발에서 가장 민감하게 고려해야 할 부분은 좌석이 중복으로 할당되지 않는 알고리즘을 개발하는 것이다. 본 논문에서는 이러한 문제를 해결하기 위해 서버에 많은 수의 동시 접속 예매가 이루어지는 상황에서 중복 좌석 예매를 방지 하기 위한 알고리즘을 제안한다. 제안된 알고리즘은 중복 좌석 예매를 막음으로써 예매대행업체, 공연 기획사 등의 예매 관련업체와 고객 간의 신뢰를 높이고 안정적인 시스템을 운영할 수 있게 해 준다.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2003.11a
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• pp.1261-1266
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• 2003

본 연구는 가상현실 극장에서 실시간 상호 작용 효과를 잘 수용할 수 있는 가상 현실 콘텐츠를 기획하고 그 시나리오를 구성하는 요소들과 인터랙션 기술 개발의 방향 수립을 위한 체계적인 사용성 평가 방법론을 제시하였다. 연구에 활용한 가상실험 콘텐츠는 Heritage Alive!로서 시나리오 구성에서 시스템 구성, 인터랙션 요소들을 사용자 참여를 통한 사용성 평가 수행을 실시하여 그 실용화 가능성과 발전 방향을 평가하였다. 사용성은 비디오를 통한 전체 관람 모습을 촬영, 관찰하여 몰입감과 콘텐츠를 연관지어 분석하였고, 사용자의 인터랙션을 컴퓨터 시스템의 로그 파일을 기록하여 입력 장치의 조작성과 과제에 대한 몰입감을 정량적으로 추출할 수 있었다. 그리고 설문지에 감성적인 측면을 질의함으로써 정성적인 평가 자료로 활용하였다.

• Digital Contents
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• no.6 s.133
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• pp.123-127
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• 2004

1989년 배트맨(Batman), 2000년 엑스맨(X-man), 2002년 스파이더맨(Spider-man), 2003년 헐크(Hulk). 21세기 들어 매년 전세계 극장가는‘맨(Man)’의 바람으로 한차례 술렁인다. 이 영화들의 메인 캐릭터는 모두 인간보다 우월한 호모슈피리얼(homosuperial)들이다. 폭풍과도 같은‘맨’류 영화의 공통점은 무엇일까. 우선 미국의 만화 출판사의 양대 산맥인‘마블(Marvel)’과‘DC코믹스’의 스테디셀러라는 점이다. 둘째로 2004년의 시점에서도 끊임없이 후속 영화를 기획하고 연출한다는 점이고, 셋째로 게임시장에서 다양한 형태로 활용된다는 점을 들 수 있다. 그리고 마지막으로 캐릭터 상품으로 이어진다는 점이다. 원 소스 멀티 유즈(One Source Multi Use)를 최고의 가치로 여기는 21세기 문화시장에 있어서 이들은 그야말로 모범답안이요 보증수표라 할 만 하다. 이 모범답안을 적극 활용하기 위해서는 표면의 흥행요소뿐만 아니라, 심층의 이야기 확장 가능성을 짚어볼 필요가 있다.

• (The) Research of the performance art and culture
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• no.36
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• pp.473-504
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• 2018

This article analyzes the exhibition of the experience for the children using the performance of the at the National Theater Performing Arts Museum. The important part of an exhibition or educational program for children should be a program that can be communicated so that the child can develop the strength to think for himself / herself as a 'subject' rather than a 'target' of the program. The purpose of this article is to analyze the case of exhibitions that solved the 'make-up' part of the performance stage by linking the performance of the concert with the experience in mind. In addition, I would like to take an opportunity to look at the case of how the performance of , which was the theme of this exhibition, was utilized as an exhibition and what kind of experiences it was composed of, and to think about the better direction of children's experience exhibition in connection with the performance.

• Korean journal of communication and information
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• v.51
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• pp.47-64
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• 2010

Korea film market is heterogeneously divided market that comes from competition between Korean movies and foreign imported movies. This research empirically analyzes genre differentiation in Korean film market with three dimensions (film audience preference, production and import, box office hit). The results indicate that, first, audiences who preferring Korean movie preferred 'cultural factor oriented genres', but audiences who preferring foreign movie preferred 'high budget oriented genres'. Second, imported foreign movie genre distribution was little bit different with box office hit genre of foreign movies. Foreign movie was imported not only hit genre (action genre) but also low cost genre (comedy and Drama/melodrama genre), but most of all Korean film was produced in box office hit genres (comedy and Drama/melodrama genre), third, Korean movies hit a box office in comedy and Drama/melodrama genre, but foreign movies hit a box office in action and SF/Fantasy genre. Those results show that Korea movies' genres are concentrated very much in cultural factor oriented genre. Those results can give implication of diversity policy and movie production strategy of Korea film market.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.