• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.84-86
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• 2004

21세기를 대표하는 종합예술 중의 하나인 영화는 독자적인 문화권을 형성하여 거대한 산업으로 성장하였다. 영화는 패션산업과 밀접한 관계를 가지고 있다. 영화의상은 영화의 극적인 효과를 위하여 사용하는 모든 종류의 복식을 뜻하며 배우가 착용하는 의상과 헤어스타일, 머리장식, 액세서리, 신발, 분장 등은 영화의 내용 전개에 있어서 중요한 역할을 한다. 본 연구에서는 영화 속 주인공들의 스타일이 여성 패션의 흐름을 주도하기 시작한 1950년대에 유행하였던 영화들을 중심으로 영화의상이 담당하고 있는 역할과 한국인의 일상복이 전통적인 의상에서 현대적이고 서구화된 의상으로 변하는데 영향을 미친 요인들을 분석하기 위하여 1950년대에 유행한 미국영화의 분석과 1950년대에 우리나라에서 유행한 복식을 분석하고자 한다. (중략)

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.234-255
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• 2013

Korean Academy of Film Arts (KAFA) is the film school run by Korean Film Council (KOFIC). KAFA was established in 1984, benchmarking American Film Institute (AFA) and in order to foster manpower for Korean Movie under the US's pressure of domestic movie market opening in Korea. The Korean Movie market was open to the world by 1987 and suffered from the low Korean-produced movie market share of around 20% in the domestic market from 1987 to 1998. During the last 30 years, KAFA plays the key role in the Korean movie making industry. Of 520 of number of their alumni, the number of directors is 101, 33 of cinematographers, 18 of producers and 21 of professors in universities' film departments. Korean Directors, Bong Joon-ho of (2013) and topped over 10 million domestic admissions to become the most-watched Korean films of all time. Now, with KAFA's relocation to Busan following with KOFIC, their new roles are promotion of the film industry in Busan, recruiting and educating new talented Korean and foreign student filmmakers, becoming an international film school.

• Journal of Korea Technology Innovation Society
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• v.14 no.2
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• pp.343-372
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• 2011

Since the introduction of motion picture in the early 20th century, Korean motion picture industry has gradually evolved as one of the world leaders. However, due to the rapid technological change as exemplified by the emergence of the new digital and 3D cinema technologies, there is a need to re-consider the existing technology policy and strategy designed for the adoption and effective use of new technologies. In this paper, the authors address this issue by emphasizing the technological development side rather than the use/adoption side. In order to provide policy makers with critical information on the current status of the sector, we analyzed the sectoral innovation system of the Korean motion picture industry. In order to conduct this analysis, we re-visited previous literature and interviewed experts in the motion picture sector. Then, the authors attempted to identify the characteristics and problems of the current Korean motion picture industry. Based on the insights gained from this research, we draw policy implications for technological innovation in this sector. However, the implications from this paper are not limited to the motion picture industry. As the motion picture industry is a new case for innovation studies, our paper may provide new research opportunities to the academia.

• Journal of the Economic Geographical Society of Korea
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• v.20 no.4
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• pp.453-485
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• 2017

One of the oldest chestnuts in economic geography is this: Cultural and creative industries strongly gather in large cities and this geographic concentration of economic activities leads to regional development. Of course, depending on the circumstances, such a proposition still holds good. But, under the current paradigm shift to knowledge-based economy, it may be open to question. This study aims to investigate financing and knowledge accumulation in the film industry through an alternative framework for explaining their spatial distributions, "formation mechanism of economic space." From the fact that their production organizations are formed on a project basis, project-based financing structure in the investment stage and knowledge accumulation process in the production stage form both axes of it. Film industry as the most mature industry among the cultural and creative industries does not always concentrate in a certain place (industrial agglomeration) or show metropolis-oriented preference. This allows us to reconsider our long brooding theory.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.351-352
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• 2013

다양성은 문화산업의 기반을 풍부하게 해주는 중요한 요소이다. 다양성영화는 비주류, 다문화, 소수, 마니아 적인 성격을 가지고있는 예술영화, 다큐멘터리, 독립영화를 포괄하는 개념이다. 이러한 개념을 바탕으로 하는 다양성영화는 지역의 다양한 소재를 활용하고 다양한 의견을 포괄할 수 있어서 문화적인 풍부함을 이룰 수 있게 하는 근간이 된다. 이 글에서는 다양성영화가 문화산업의 기반 구조를 충실히 하는 중요한 매개가 될 수 있음을 보이고 이를 고찰하였다.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.445-451
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• 2007

This study was started to not only resolve structural problems such as lack of contents, an unstable structure of earnings, and reduction of an additional market in Korean film industry through revitalizing digital cinema, but also make digital cinema become a power for growing Korean film industry furthermore. In the section of revitalizing digital cinema production, I suggest that expanding an audience base of low budget art cinema using digital technology will contribute to diversity film contents, and joint production with broadcasters by digital technology will expedite growing film industry as well as revitalizing digital cinema production. In the section of revitalizing digital cinema distribution, I insist, we should make effort positively to build reasonable hold-back and so on in order that film industry's positive participation in the market of digital film distribution and new media such as DMB or IP-TV may become an additional market to film industry. In conclusion, we can gain a foothold to leap toward a Position of cultural technology Power through efforts to resolve problems inherent in digital cinema.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.287-298
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• 2020

The purpose of this study is to analyze the narrative structure and types of films that has attracted more than 10 million viewers ('10 million films') among films released in Korea, and deal with the implications of the current Korean film industry. To this end, this study investigated the relationship between films and their narrative as a product of the film industry. To approach this, We dealt with the features of structuralist analysis and archetype or mythological narrative analysis. For a detailed analysis, a total of 27 films of "10 million films" were categorized using Northrop Frye's original narrative analysis method. As a result of the study, 13 comedy structures, 7 romance structures, 4 tragic structures, and 3 irony and satire structures. It was confirmed that the "comedy" and "romance" structures had a high percentage of all 10 million films, and occupied the top ranks in the box office rankings. In conclusion, this study confirmed the narrative rules and customs of films hitting Korean box offices, and through this, it was possible to examine a rough topography of the film consumption of the public in the Korean film industry. This can be said to provide a clue as to how the narrative of the film should be constructed when producing a film from an industrial perspective.

• Proceedings of the Korea Multimedia Society Conference
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• 2012.05a
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• pp.108-111
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• 2012

중국은 2008년 9월 개봉한 '잃어버린 세계를 찾아서'을 통하여 디지털 입체영화의 시대가 열렸다. 이후 2010년 1월 제임스 카메론 감독의 <아바타>를 통해 중국입체영화산업은 세계적인 입체영상산업에 발맞추어 놀라운 속도로 발전 하였다. 중국의 디지털 시네마 디스플레이 시스템의 발전과 입체영화를 통한 극장 흥행수입 등의 데이터를 바탕으로 중국시장의 발전가능성을 발견할 수 있다. 하지만 현재까지 중국 입체영화 시장의 주요 콘텐츠는 해외에서 수입된 콘텐츠가 주를 이루고 있다. 중국 입체영화 시장의 발전에 비하여 제작분야는 아직은 발전초기단계이다. 본 연구는 중국3D입체영화의 부실이 스토리와 입체효과기술에 있다고 판단하여 콘텐츠 선진국의 3D입체영상 역사와 현황을 파악하고 중국의 3D입체영화의 현황 비교분석하여 그 해결방안을 제시하는데 목적을 두고 있다.

• The Journal of the Korea Contents Association
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• v.12 no.11
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• pp.88-99
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• 2012

Korean Film Council (KOFIC) is entrusted by the Ministry of Culture, Sports and Tourism, Republic of Korea, aiming to support and promote Korean films. With the government's policy for balanced regional development, KOFIC head office will be relocated to Busan. Busan is famous for the Busan International film Festival and their effort for Korean film industry. Until now, the Korean film industry is concentrated on the Seoul metropolitan areas. With the relocation of KOFIC, it is the time for KOFIC to recognize and promote and Busan as the Second key Cluster of Korean film industry. With the cooperation with Busan Film Commission, KOFIC needs to set up the new promotion plan for Korean film industry for future including building new film production studio, raising regional film production fund, and scouting new talented filmmakers.

• 월간산업보건
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• s.387
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• pp.62-63
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• 2020

망하기 일보 직전의 동물원을 살려라! 영화 <해치지않아>는 동물원 '동산파크'에 야심차게 원장으로 부임하게 된 변호사 '태수(안재홍 분)'와 동물 탈을 쓰고 동물로 위장근무하게 된 직원들의 기상천외한 미션을 그린 이야기다. 영화 속 인물들처럼 10kg 안팎의 무게에 달하는 탈을 쓰고 일하는 건 쉽지 않다. 특히나 한여름에는 온열질환에 시달리기 십상이다.