• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.149-155
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• 2019

In order to let the world know a real China, China has been strengthening the cultural pursuit of radio and TV programs and accelerating the development of cultural TV programs. By developing cultural TV programs, we can maintain the characteristics of national culture, publicize Chinese traditional culture and introduce the time-honored Chinese civilization to the world. Television can not only keep people informed of current events and social issues, but also provide people with colorful cultural life and entertainment. It is an innovation to spread cultural programs by means of entertainment. TV programs convey relevant cultural contents to the audience through various forms so as to improve the audience's cultural literacy and social influence. This paper summarizes the development background and current situation of Chinese TV culture, and gives some thoughts on the development of current cultural programs, which can provide some references for the communication and development of Chinese cultural TV programs.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.1151-1157
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• 2023

It raises questions about how China, dominated by the socialist system and the Communist Party, will change in the era of artificial intelligence. We predict how the Chinese socialist system will change in the meta-world where SNS is developed, communication is conducted within the meta-verse world, and artificial intelligence is operating in many fields. In order to do so, it is necessary to understand the characteristics of the Chinese state and the characteristics of national policy, as well as the metaverse policy proposed by the Chinese state. The development of the metaverse was emphasized at the 5th session of the 13th National People's Congress in 2022, and in May of that year, the Central Party School of the Communist Party of China published the <Metaverse Industry Manual for Party and Political Officials>. Therefore, in this paper, we will analyze China's metaverse policy and forecast the direction of development of the metaverse industry that China wants to pursue.

• Proceedings of the Korean Society of Computer Information Conference
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• 2019.01a
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• pp.185-186
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• 2019

본 논문에서는 중국 시청자 대상으로 한국 TV프로그램에 대해 시청동기가 지속적 시청에 미치는 영향에 관련 연구를 했다. 최근 한국의 대중문화 산업이 발전하면서 한국 TV프로그램의 인기가 높아지고 있다. 특히 한국 연예인들 출연하는 예능 프로그램은 지속적인 시청이 이루어지는 추세이다. 또한 한국 드라마도 중국 시청자들한테 높은 인기를 끌고 있다. 그래서 중국 시청자들이 한국 TV프로그램에 대해 지속적인 시청 의도가 더욱 중요해 지고 있다. 따라서 본 연구는 중국 시청자들 한국 TV프로그램 시청동기와 문화적 접근성 요인이 한국 TV프로그램 지속적 시청의도에 미치는 영향에 대해 살펴봄으로써 시청동기와 문화적 접근성이 한국 TV프로그램 시청에 미치는 영향을 이해하고자 한다. 본 연구는 한국 TV프로그램 시청하는 중국 시청자 대상으로 설문지를 배포하였으며, 수집된 데이터를 분석하였다. 본 연구의 분석을 통해 확인된 주요연구결과는 다음과 같다. 첫째, 중국 시청자들 한국 TV프로그램 시청 동기가 지속적 시청의도에 긍정적인 영향을 미친다. 둘째, 중국 시청자들 직접경험이 지속적 시청의도에 긍정적인 영향을 미친다.

• The Optical Journal
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• s.113
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• pp.20-22
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• 2008

중국 진출기업의 경영환경이 과거에 비하여 그 매력도가 현저히 떨어지고 있는 점은 사실이다. 그러나 중국 정부의 정책변화 등 부정적인 요소가 많음에도 중국은 전 세계 다국적 기업의 90% 이상이 진출해 있는 명실상부한 세계경제의 중심지이다. 우리나라와는 한자를 바탕으로 한 문화적 동질감.지리적인 이점.우호적인 국민정서 등의 면에서 여전히 매력적인 활용의 대상이다. 따라서 중국에 진출한 한국기업이 생존하고 국제경쟁력을 갖추기 위해서는 가장 먼저 중국을 생산기지 개념이 아닌 확대된 내수시장으로 보고 기술력 우위 확보를 위해 끊임없이 R&D에 투자해야 한다. 또한 강도 높은 현지화 전략 추진, 강력한 경영혁신과 원가절감 활동 등이 무엇보다 절실하다.

• 프린팅코리아
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• v.8 no.2
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• pp.68-73
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• 2009

국내 인쇄문화전통이 '문화원형'으로 개발되고 활용되어 인쇄출판산업의 발전과 국가이미지 제고에 기여하도록 하기 위해서는 우선적으로 해결되어야 할 과제가 있다. 바로 한국 인쇄문화의 아카이브이자 랜드마크(land mark)로서의 '인쇄문화박물관'을 건립하는 것이다. 독일과 중국, 일본 등 세계적으로 풍부한 인쇄문화의 전통을 지닌 대부분의 나라들은 세계적인 '인쇄박물관'을 운영하고 있다.

• 프린팅코리아
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• v.13 no.12
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• pp.76-85
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• 2014

차이나프린트, 프린트차이나와 더불어 중국의 3대 인쇄산업전중 하나인 올인프린트차이나가 지난 11월 14일부터 17일까지 4일 동안 중국 상하이신국제엑스포센터에서 성공적으로 개최됐다. 이번 전시회에는 20여개 국에서 참가한 680여 업체가 친환경 고효율을 내세운 다양한 신기술을 선보였으며, 10만명(추정치)의 바이어와 방문객들이 다녀갔다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.51-64
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• 2021

Among global K-pop fandoms Chinese fandom is a longtime and very strong consumer power in the K-pop industry due to its adjacent geographical location and low cultural barriers. Yet, there is a significant lack of research on Chinese K-pop fandom; most of what is available is from the producers' points of view. Research that explores the position and experience of Chinese fans, who are both mass audience and consumers, is slow to emerge. Thus, there is a need for systematic and careful study of Chinese K-pop fandom. In this research, we conducted a phenomenological study of the experience of Chinese fans of K-pop culture. We conducted participatory observation and in-depth interviews (including a FGI) with Chinese superintendents and active participants in Chinese K-pop fan clubs and fan pages. We then coded the data, following the theory of fandom developed by scholars such as Fiske (1992), and analyzed the phenomenon of Chinese K-pop fandom from the frame of the overall societal environment. We considered the psychological and behavioral characteristics of Chinese fans and the influences they receive from their turbulent social environments. We also considered the expectations of and opinions on the development of K-pop culture from their perspective. Based on our findings, the significant role and influence of independent fans and interdependent fandom in the development of K-pop culture and industry are identified. Finally, we emphasize that the role as facilitators of K-pop agencies is critical in the establishment of communication and trust between fans, K-pop artists, and the agencies.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.456-471
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• 2018

A Comparative Study on the Korean animation industry and 3 of this paper is a matter of Korea, China, Chinese animation industry and the Current Status and Problem of Chinese animation business in overseas markets.Aimed to find ways to expand exports. In order to realize this purpose with theoretical backgrounds, such as animation concept and characteristics of the research literature, look at ways a paper from an animation industry, work, China.Chinese animation development plan based on the bibliographic data and case study based on books. First, by government in terms of development measures and supplement the system and a law on the animation industry. First of all animation industry and producers To help protect the government is to become an active policy must be supported with funds and animation to ease the relevant laws and regulations and joint venture with foreign countries.Pursuing an active policy is needed. Second, an animated feature can get the full benefit of the industrial chain to and create derivative works as a multilateral needs to be improved. Third, the animation expertise to build human resources need to be nurtured. Fourth, in order to cater to overseas markets in China will create various types of Chinese traditional culture based on the animation is important. Fifth, and a mobile home page to get in. Sixth, will be easily exported to overseas markets to the creation of joint international exchange and international.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.83-89
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• 2019

Zhang yimou's film "the shadow" adopts a lot of modern literary symbolic content in the story structure. The novel has been greatly modified, abandoning the setting of the original work and making up the historical background of the story, thus completing the discourse practice of aerial literature rather than historical literature. The film expresses the historical story poetically and even writes the personal mind. In this way, the audience's sense of substitution is increased, and a large number of traditional Chinese cultural symbols are adopted visually. In terms of clothing, the most traditional is sought, which advocates loyalty to history, and adds cultural connotation and depth. The audience can feel the bold and unfettered artistic creation spirit of the main creator, as well as the novel and unique visual expression style, which makes his works have both traditional visual perception and modern story content. The combination of traditional vision and modern drama forms a new visual and cultural experience.

• Cartoon and Animation Studies
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• s.50
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• pp.23-42
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• 2018

Currently, two-dimensional culture is the main keyword in Chinese contents market. In China, many capital and economic giants have entered into two-dimensional cultural market because the number of users and the interest of the public for two-dimensional culture are increasing day by day. The reason for the rise of the two-dimensional culture into the mainstream culture is not only the switching of the mainstream consumer class but also Two-Dimensional Culture forms a huge industrial chain covering many areas including movies, performances and theme parks in addition to ACGN (Animation, Comic, Game and light Novel), the second is that more people are participating in Two-Dimensional Culture due to the specific audience with high social environment and loyalty and the third is looking for the role of the users in Two-Dimensional cultural content from three characteristics, such as strong cultural prevalence. This study analyzed the Chinese two-dimensional cultural environment through PEST(Political, Economic, Social and Technological analysis) In addition, as the ecological environment and communication method of Two-Dimensional Culture users changed, the users became active participants and the second producers of contents. I examined the way of using the users' contents through the phenomenon of 'Barrage'. Therefore, this study discussed the appropriate development path for the user-oriented contents industry in the Chinese Two-Dimensional cultural environment.