• The Research Journal of the Costume Culture
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• v.9 no.2
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• pp.259-276
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• 2001

Hitchcock, "a master of the thriller" "leading figure of thriller", was famous for his work style. He never starts filming until completing a perfect conception in his mind before shooting. He started filming after getting a perfect filming plan adding a picture even one detailed shot picture. Also the movie costumes was not an exception in his movie. He put more main object to express a symbolic meanings by recreating movie costumes which were fit to drama′s subject than function which spoke for contemporary popularity also he guides actors to put on the movie costumes examined previously to shape a definite visual character in that works. This research intends not only to look into symbolic and expressive means of dresses through the movie costumes on thriller appeared in Hitchcock′s movie, but also the comprehension width by grasping importance of the movie-costume and dress image in the movie. Hitchock made about 55 movies, mostly thriller movies, from Number 13(1922) n unfinished work to family plot(1976) ones posthumous work. This research examined his the second half of term works(after 1950) such s Rear Window(1954), Vertigo(1958), Psycho(1960), Torn Curtain(19660, Topaz(1969) and Frenzy(1972) which are generally familiar to the public. In conclusion, we can find that the thriller movie costumes as well s the other movie and appeared a character of the film′s characters, social rank, economic level, personality. But expecially, a costume of Hitchcock′s thriller movie can be contained a characteristic factor of a kind of five.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.87-94
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• 2019

South Korean films narrate exquisitely, express emotions implicitly and employ magnificent images, exemplifying unique oriental aesthetics. This paper takes Along with the Gods: The Two Worlds (2017) as an example to analyze the meaning of oriental aesthetics in South Korean films using the Film Narrative Theory. It is a fantasy blockbuster depicting family kinship stories. It structures with the familiar karma and reincarnation of Asian Buddhism with the core of family kinship. Perfectly interpreting the fantasy world of hell with stunning movie effects, it shows the family kinship of families under the main plot line of a horror film.

• 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.

• Journal of Broadcast Engineering
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• v.20 no.6
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• pp.950-962
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• 2015

This paper analyzes the effect of the number of viewers and the number of running screens in the theater, genres of the movies and holdback period on the number of purchases movie VOD contents. In this paper, we deals with the 169 movies VOD consumption data which the digital cable TV subscribers purchased during the third quarter of 2013. As a result of the research, the average number of VOD purchases per each movie is 2,540. Regression analysis proves that the number of running screens and the holdback period are statistically playing a role of significance in movie VOD purchases. But the number of viewers in the theaters is not of significance. By genres, the result is shown as in this order: SF/fantasy 8,401 > dramas 4,011 > comedies 2,011 > action 1,789 > animation 1,138 > love story/melo 1,119 > horror/thriller 770 > erotic movies 636.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.160-169
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• 2013

The materials used in the title sequence connotes a style & a content of film comprehensively. Therefore, the effect of emotional expression can be changed according to what materials are selected. Thus, the materials of which 42 title sequences are collected for the last 10 years are classified, and the category of materiality & material degree are defined with the semiotic rectangle. To investigate intensity of the material degree, the survey was done. As a result of the survey, the intensity was classified into 3 levels of material degree. The category of materiality used according to the genre of film was analyzed. As a result of the analysis, the materiality was selected according to the content regardless of genre, but there's any difference in the material degree. The intense material degree was used in a thriller and an SF mystery genre, and the medium one was used in the general genre, but, above all, drama and action genre. The weak one was used in a variety of genre, but specifically horror, SF mystery genre. It is significant that this study suggested the expression method in accordance with selection of materials in producing a title sequence to visualize film symbolically.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1537-1542
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• 2017

Emotion plays a key role in both generating and understanding narrative. In this article we analyzed the emotions represented in a movie script based on 8 emotion types from the wheel of emotions by Plutchik. First we conducted manual emotion tagging scene by scene. The most dominant emotions by manual tagging were anger, fear, and surprise. It makes sense when the film script we analyzed is a thriller-genre. We assumed that the emotions around the climax of the story would be heightened as the tension grew up. From manual tagging we could identify three such duration when the tension is high. Next we analyzed the emotions in the same script using Python-based NLTK VADERSentiment tool. The result showed that the emotions of anger and fear were most matched. The emotion of surprise, anticipation, and disgust, however, scored lower matching.

• Journal of Internet of Things and Convergence
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• v.7 no.3
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• pp.55-61
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• 2021

This study explores four Korean films: Silenced (2011), Unbowed (2012), The Attorney (2014), and New Trial (2017). Based on these films, this study explores the features of courtroom films and their social significance on society. The ability of Korean courtroom films to have such a profound impact on Korean society is something that is not usually witnessed in other countries. Also, the fact that they are low-budget works, not action/thrillers within the 'guaranteed star' system, and the fact that they present opportunities for netizens to call for change is a defining feature of Korean courtroom films. All four films have sparked controversy over the level of realism in Korean courtroom films, but what is more important is the way in which they portray contemporary social change. In summary, these four Korean courtroom films highlight the characteristics of social action and the means of mobilization required to effect it.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.51-61
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• 2013

This Paper aims to explore the key factors that drive box-office success in Korean, Chinese and Japanese film market regarding to the storytelling of the movies. At first, I researched the top 20 movies at the box office of Korean, Chinese and Japanese film market from 2007 to 2011.And then I tried to figure out the key factors for the success and the differences among those countries. Usually the purpose of the movie planning in Korea is for the domestic market. In the profit structure of Korean film industry, it is really hard to focus on the overseas film market. In Chinese film market, recently it has been changed a lot especially film genre. The movie liked to watch is melodrama, romantic comedy movie It is being changed to the comedy genre from the war and martial arts movie. And it is emphasized the importance of the scenario in the film production. They want to watch their lives like a real and dreams at the movie and the movie tries to show this trend. In Japanese film market, they made movies in which TV drama, animation and cartoon according to the O.S.M.U. strategy. The movies like to watch are the blockbuster movies, horror movies, thriller movies and melodrama. Comparing with Korea and China, they like movies which show more fantastic and fairy tale imagination.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.151-156
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• 2019

In recent years, the Korean realistic theme of the film momentum gradually rising. Realistic films do not stick to the business and market, and do not simply cater to the audience's needs for watching movies. They reflect social violence and cruel reality, allowing the audience to observe the structural contradictions in reality and think about the direction when watching movies. At the recent cannes film festival, "parasite" won the top prize palm in cannes by an overwhelming margin, with the highest score of 3.3 issues. Although this film is positioned as a thriller with comedy elements, it presents the opposite life images of Korean classes to the audience in a parasitic way, which not only expands the possibility and artistry of realistic film aesthetics, but also enhances the appreciation of the film and gives play to its own aesthetic value. Focusing on the technical and literary nature of the film, and having a high degree of attention to real life, it is an excellent work that tells about class opposition and thinking about reality. This paper considers and analyzes the content, form and creation method of parasite, and discusses the continuous exploration and attempt of realistic film to image language under the demand of market and system, evolving into new aesthetic expression.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.671-678
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• 2018

The term "B film" is contrasted to the term "A film" and it has started life since the Great Depression. Film industry had planned the double bills for the audience attraction; double bills means the release of A film and B film. While A's is made to make profits, B's film is made to meet the balance. B film has two features of low budget and low technology. Nevertheless B film has its own style and aesthetics and ironically has made the film more creative and innovative. Historically, it has been related to European and American avant-garde. Robert Florey who is worthy of notice among the early B film makers has adapted and integrated the expressionist and avant-garde styles into the American feature. He also preferred the greater liberty generally afforded "B" directors. Florey has directed Murders in the Rue Morgue and The Florentine Dagger due to the success of his experimental films. Murders in the Rue Morgue shows the style and aesthetics of avant-garde through horror genre and The Florentine Dagger shows the style and aesthetics of avant-garde through thriller genre.