• Journal of Korea Fair Competition Federation
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• no.129
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• pp.2-9
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• 2006

영화산업은 한류의 영향과 함께 우리 문화의 발전을 기약하고 나아가 21세기에 우리 경제를 이끌어 갈 성장산업으로 인식되고 있다. 영화산업이 지속적으로 경쟁력을 갖추고 한류 확산에 기여하려면 제작에 대한 투자 등 양적 증대와 함께 장르 다각화, 작품성 향상 등 질적인 성숙과 함게 경쟁법적 차원에서 소비자가 질 높은 영화를 선택할수 있도록 자유롭고 공정한 경쟁질서가 확립되어야 할 것이다. 이를 위해서는 무엇보다 소위 빅3 소속 계열사들의 자발적인 공정경쟁질서 확립이 급선무이다.

• Electronics and Telecommunications Trends
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• v.20 no.4 s.94
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• pp.58-66
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• 2005

2004년, 개봉 39일만에 국내관객 1000만 명을 돌파하며 국내영화사상 신기록을 수립한 영화 ‘태극기 휘날리며’에선 사상 유례없는 10만여 명 이상의 피난 및 중공군 진격장면이 연출되었다. 그러나, 10만여 명이 나오는 장면을 찍기 위해 동원된 엑스트라는300여 명에 불과하다. 1982년작 영화 ‘간디’의 장례식에 동원된 30만 명의 엑스트라를 생각한다면 괄목할 발전이라 할 수 있다. 이와 같은 대규모 스펙터클 잠연이 영화에서 빈번히 활용될수록 첨단영상 장비에 대한 활용도는 제고될 것으로 예상된다.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.81-82
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• 2019

홍콩은 독특한 영화문화를 탄생시켰고, 그 특징을 이어오고 있다. 특히 최근에는 포스트모더니즘의 흐름을 잇는 작품이 잇달아 등장하면서 독특한 경향을 형성하고 있다. 이에 본 연구자는 포스트모더니즘을 이어가는 홍콩영화의 의미와 의의에 대해 연구하여 그 미학적 특징을 밝히고자 한다. 특히 <중경삼림>의 작품을 중심으로 그 특징을 분석하여 영화의 해석과 제작에 기여하고자 한다.

• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.72-81
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• 2012

From the viewpoint of invigorating Korean film-market, the commercial success of films can be regarded as a very important virtue. Such marketability of films will be determined at the stage of planning and development before that of film-making. In order for ideas and scenarios which are the foundation of film-making to have any commercial virtue, a commercial verification at this stage should intervene, which should be the basis of the understanding a lot of texts and the trends in the entire culture. It is the very time that the efforts for improving the stage of planning and development and certain alternatives are needed for the qualitative growth of Korean films and the systematic development of their industrial aspects, for any efficient alternatives for the stage of planning and development will bring about an important result that the commercial success of Korean films expand the meaning into the domains of creativeness and artistry.

• Cartoon and Animation Studies
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• s.17
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• pp.97-115
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• 2009

Most films have not made by original storytelling. They get their storylines and themes from diverse sources such as novels, comics, performing arts, and previous film products. Comics have become a primary source for film production since 1960s in such nations as Japan and USA. In the contemporary period, this becomes a more visible trend in many countries including Korea, China, and France. Unlike novel, comics combine words with images. Since a comic strip isa graphic medium in which visible images are created in order to express a sequential narrative, it seems more relevant when films adapt original comics in order to recreate new products. The progress of 3D graphics technology enables film creators to realize imagined images in screen, most of which were once imagined only in comics. Keeping an eye on the strength of comics, this study tries to tries to investigate the relationship between a comic strip and its adaptation to film. It will firstly discuss the cases of comics in Korea, which are adapted to film in Korea. And this study will discuss "Le Grand Chef"as a case study in order to investigate what is the difference between original comics and film adaptation.

• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.212-220
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• 2019

This study evaluates the extent to which the government's financial support policy, the Audio-visual investment fund, contributed to raising capital for Korean films. Audio-visual investment fund in the Korean film industry, which has been formed through the public sector support since 1999. The Audio-visual investment fund is a leading financial support policy for the Korean film industry, and began with the investment of the Small and Medium Business Administration and the Korean Film Council. It has become an important source of Korean film production costs and has spread to other cultural industry sectors, as a way of capital procurement for a start-up companies and cultural projects. This study reconstruct the data of the organizations such as the size of a new investment fund by public sector, the ratio of public capital contribution, the amount and number of investment in Korean films, investment multiplier compared to equity investment, and the internal return rate(IRR) of liquidation funds in the Korean film capital market from 1999 to 2017. The purpose of this project was to provide the basis for assessing the achievements of the Audio-visual investment fund policy in contributing to the growth of the film industry.

• Archives of design research
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• v.20
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• pp.253-262
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• 1997

The era of film has begun as a few media critics had anticipated already. The interestings of visual designers has asked to being with images in the processing and changing of varied image culture are different from the era of print media. It is reason to being with images that are generalizing of video culture. Now the film of images that made from popular advertisings and goods influenced by films has come. At first to being with image to visual designers need to understand films and to join making films. In films, visual designers make strengthen in part of credit titles. Credit titles are elements in films with the form of text to help understanding in the beginning and closing part of films. Credit title design has begun first by American visual designer Saul Bass as p pioneer position and have made to be varied film credit technics of computer. The advanced of technics have to think aspects of meaning of titles in the film of '007' movie series through 60s &70s. In 80s more technics have developed to being varied credits to films. And after all, in 90s there are films with almost varied titles. In Korean films ars less varied than that of Amenrican's and of French, in this study I hope to develope more varied Korean credit titles in near future.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.780-788
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• 2016

The purpose of this study was to research the limits of sports films from the perspective of social structural on the category, the material, the formulas and the mixture of the materials in the movie. The results were as follows: First, Sports films have been faced with the basic problem as to what a standards the category were classified with because of the conceptual confusion about what sports movie was. Second, sports movies could not catch up with a lot of changes in the movies. Third, sports movies were confined, without flexibility, within old fashioned formality of stories which prevails in modern sports. Lastly, they didn't have the mixture of the materials due to the fixed recognition on sports.

• The Journal of the Korea Contents Association
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• v.10 no.8
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• pp.159-167
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• 2010

Since success of in the box office, there are not only highly interested in 3D Stereoscopic in Media market but also has been briskly supporting for 3D Stereoscopic producing in variety platforms including film, broadcasting, mobile They expect 3D Stereoscopic will be a new standard format for media of domestic market as well as overseas. However there are required professional production system and grant capital for 3D Stereoscopic production. In case of domestic industry, there are not forged through specialized production system and lack of 3D Stereoscopic producing. They are needed not only Pipeline for 3D Stereoscopic production but also strategic supporting like specialized education and test-bed for 3D Stereoscopic production. It is able to established efficient and specialized system for 3D Stereoscopic production given the pipeline proposal.

• Cartoon and Animation Studies
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• s.40
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• pp.1-31
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• 2015

The Korean animation that has relatively short history compared to the Western Europe and Japan's animation started out from the non-commercial short-piece animation produced as part of advertisement animation and culture movie in the later part of 1950s. In 1960s, the culture movie animation reflecting for the Movie Act and cultural policies has hardly been mentioned in the history of Korean animation, but they are the precious cultural work produced prior to the theatrical long-piece animation. In particular, compared to the 15-second short CF animation, the short-piece animations are ranging for 4 minutes to 10 minutes as the work pieces with the historic value to measure the level of the Korean animation at that time. in 1960s, approximately 20 short-piece animation works were produced and they contained the educational contents to enlighten general public in the process of modernization policy. Those short-piece animations produced in cultural movie at the National Film Production Center of Korea had been produced not only in cell-facilitating cartoon animation, but also in paper animation and puppet animation. In this background, this thesis takes a close look to the short-piece animation works produced in the National Film Production Center of Korea in 1960s. While there was almost no studies of early short-piece animation other than CF works, it is meaningful to discover and analyze the works, and, Director Park Young-il, Director Han Sung-hak, Director Jung Do-bin, Director Shin Dong-hyun, Director Nelson Shin and others participated in the creative work process have worked as the animation directors for theater that the analysis on the works would be considered as important fundamental studies to understand the Korean animation. Under this thesis, it is intended to study the historic implication and formative characteristics around some 10 work pieces to affirm participating personnel, including directors, for the short-piece animation created by the National Film Production Center of Korea as well as the situation of time to launch the National Film Production Center of Korea in 1960s. Through this effort, it is intended to come up with the starting point to process enriched researches on non-commercial short-piece animation as well as contemplation on the Korean animation history that have been neglected in the study of the Korean animation history through such effort.