• Cartoon and Animation Studies
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• s.35
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• pp.313-327
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• 2014

Starting with a Korean soap opera in the year 1993, entertainment industry of South Korea such as K-pop, soap operas, Korean celebrities has been introduced and spread throughout China. The new word 'Korean wave' was coined by fans of Korean entertainment culture at this time, and passion on the subject gradually expanded from soap operas to entertainment programs in the market of China. It is necessary to analyze the current situation that Korean entertainment programs gaining tremendous popularity on the entertainment field in China and research on ways to cope with the fierce competition and to change to survive from it. Nowadays Korea has its own unique attribute with its national traits after years of mere imitative adaptation from broadcast program of Japan and that of America since 1980's. Regarding the process, similar situation is ongoing on the entertainment field in China. This paper intends to study potential of Chinese entertainment industry compared to the differences on programs between Korea and China by scoping out success of Korean entertainment program in China and the impact on Chinese entertainment market.

• Cartoon and Animation Studies
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• s.36
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• pp.75-89
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• 2014

Since the first animated Chinese commercial titled directed by Wan Three Brothers in 1926, Chinese animation commercials are steadily increasing every year. The proportion of animation commercials in Advertisement industry increases gradually, animation becomes one of the direct means of rising commodity value. In this premise, this paper researches the history and characteristics of animated commercials, compare and analyze commercial samples from two world advertisement festivals and four Chinese advertisement festivals. Compared the world animation-advertisement market, Chinese animation-advertisement market is relatively limited under its particular status. Under the condition, this paper will analyze the current situation of Chinese animation advertisement through the samples from advertising festivals. Finally, the paper concludes finding out ways of development and effective marketing of animation commercial industry in China by checking out animation advertisement in industrial classification between Chinese and world's advertisement market.

• Cartoon and Animation Studies
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• s.13
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• pp.45-65
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• 2008

The animation industries of Korea and China shares the effort for transition from work-for-hire Industry Into creative industry. In spite of similar industry background and characteristics, and the aggressive government policy to support this industry transition at the same point of time, the current status of animation industries in Korea and China are showing very different statistics as of the end of 2007. The production amount of Chinese original animation has grown rapidly since 2004, which has made China the top class country in the world in original animation production amount, and more than 600 million audience of Chinese TV animation has firmly established the Chinese domestic animation market basis. On the other hand, despite the Korean government support, original animation production of Korea has been showing a slow and sluggish growth, and Korean animations are losing the domestic market basis with only 1% TV ratings due to unfavourable Korean TV stations' programming practices against Korean animations. This different status of animation Industries of two countries are the result of different government policies and the fallacy of Korean government. While the Chinese government has focused its industry policy on the facilitating the domestic market by establishing the stable broadcasting TV distribution and encouraging the animation production through organic cooperation between related government agencies, Korean government spent lots of effort into facilitating the development of original animation projects, without cooperative structure In the government, and without sincere consideration on the importance of establishment of domestic market consumer basis.

• Cartoon and Animation Studies
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• s.28
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• pp.1-25
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• 2012

The rapid digitalization across all aspects of society since 1990 led to the digitalization of cartoons. As the medium of cartoons moved from paper to the web, a powerful visual culture emerged. An encounter between cartoons and multimedia technologies has helped cartoons evolve into a video culture. Today cartoons are no longer literate culture. It is critical to pay attention to cartoons as an "expanded fest" and as visual and video culture with much broader significance. In this paper, the investigator set out to diagnose the current position of cartoons changing in the rapidly changing digital age and talk about future directions that they should pursue. Thus she discussed cases of changes from 1990 when colleges began to provide specialized education for cartoons and animation to the present day when cartoon and Multimedia Comics fests exist in addition to the digitalization of cartoons. The encounter between new technologies and cartoons broke down the conventional forms of cartoons. The massive appearance of artists that made active use of new technologies in their works, in particular, has facilitated changes to the content and forms of cartoons and the expansion of character uses. The development of high technologies extends influence to the roles of appreciators beyond the artists' works. Today readers voice their opinions about works actively, build a fan base, promote the works and artists they favor, and help them rise to stardom. As artist groups of various genres were formed, the possibilities of new stories and texts and the appearance of diverse styles and world views have expanded the essence of cartoon texts and the overall cartoon system of cartoon culture, industry, education, institution, and technology. It is expected that cartoons and Multimedia Comics will continue to make a contribution as a messenger to reflect the next generation of culture, mediate it, and communicate with it. Today there is no longer a distinction between print and video cartoons. Cartoons will expand in every field through a wide range of forms and styles, given the current situations involving installation concept cartoons, blockbuster digital videos, fancy items, and characters at theme parks based on a narrative. It is therefore necessary to diversify cartoon and Multimedia Comics education in diverse ways. Today educators are faced with a task to bring up future generations of talents who are capable of leading the culture of overall senses based on literate and video culture by incorporating humanities, social studies, and new technology education into their creative artistic abilities.

• Journal of the Korea Society of Computer and Information
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• v.23 no.4
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• pp.17-24
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• 2018

This paper proposes data mining models relevant to the serial publication periods and mobile gamification likelihood of webtoon contents which were either serialized or completed in platform. The size of the cartoon industry including webtoon takes merely 1% of the total entertainment contents industry in Korea. However, the significance of webtoon business is rapidly growing because its intellectual property can be easily used as an effective OSMU (One Source Multi-Use) vehicle for multiple types of contents such as movie, drama, game, and character-related merchandising. We suggested a set of data mining classifiers that are deemed suitable to provide prediction models for serial publication periods and mobile gamification likelihood for the sake of webtoon contents. As a result, the balanced accuracies are respectively recorded as 85.0% and 59.0%, from the two models.

• Journal of Korea Game Society
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• v.10 no.1
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• pp.57-64
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• 2010

Method of making For the improved game industry, this society was permitted as an incorporated association for spearhead of game society from Ministry of Culture & Tourism on February 14, 2001 with a sense of duty and a strong will toward a powerful game country. This society has objectives of academic research and distributions on creations of game contents, technologies of game producing and developments of game cultures. We will develop the game culture and industry through an industry-academic cooperations by each expert field, and spread out academic activities for cultivation of policy, technology, education, etc of the game industry in the future.

• Cartoon and Animation Studies
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• s.30
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• pp.87-112
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• 2013

The effort to make the peaceful mood between South and North Korea that had started from so-called 'Sunshine Policy' of the People's Government since 1998, lasted until Rho Mu-hyun government. On the other hand, Lee Myung-bak government changed the policy toward North Korea to more practical and principle-oriented one than the previous two governments. By the shift of the policies, the industry of animation of South and North Korea has been influenced so much. The purpose of his study is to point out the crisis of the status of the animation industry of the Korean Peninsula through the change of the policies, and to propose one method of the new paradigm to the next government in order to build a turning point of South and North Korea animation exchange. First, the paradigms toward North Korea through the past governments are compared. Second, the result and situation of animation industry of South and North Korea are analyzed. Finally, by examining deducted problems, the forward policy toward North Korea and, by extension, the improvement direction and practical tasks of South and North Korea animation exchange policy are considered.

• Cartoon and Animation Studies
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• s.16
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• pp.125-140
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• 2009

In the1970's, Korean movie industry was down because of widely supplied Television. During the time, directed by Kim Cheong-ki was Big hit at the box-office that is bring Korean feature animation industry back to life. In 80's, when new military regime started, SF animation was prohibited to be on air by government because that assumed have bad influences on children, and korean animation industry was faced with recession, such as various imported foreign animations which were on color TV and wildly provided video recorders. At that time, director KIM Cheong-ki try to overcome the recession of animation industry by producing, < David and Goliath>, which was based on the Bible. The Bible, was based on the historical facts and had written by the time flow, that made few changes while it was transformed to a feature animation. Animation does not only reproduce the reality as it is, but also analyzing the story to create a new reliable world, by changing characters, creating new supporting characters, and expanding and reducing of narrative. Despite of such an effort, didn't achieve it's goal at the box office and not satisfied audience either because it was excessive reproduction of the Bible, not standing on the basis of those days social and cultural environment and popularity. This study is aimed at confirming changed narrative shown Kim Cheong-Ki's, and compare it with two other animated, directed by others, so that suggest the new direction of the religious feature animation production.

• Cartoon and Animation Studies
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• s.18
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• pp.17-35
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• 2010

The purpose of this study is to find out the way to improve the funding system of Korean animation, which will lead the establishment of virtuous circle of Korean animation industry. The funding structure of Korean animations in the period of 2005-2009 is analyzed to find out that the funding surveyed to find out that the domestic funding source for Korean animation has reached its limitation. Without any active involvement of public fund, this will result in the shrink of Korean animation industry with heavy reliance on foreign capital and limited quality of Korean animation. This is not only a serious problem of Korean animation industry, but also the problem of Korean cultural identity and variety because it is related with the diminish and degradation of Korean children and family content. Meanwhile, in France and Canada, which are the major co-production partners of Korean animation, the animation production is being activated by the full support of government fund system, because the animation is regarded as the important genre which plays a critical public role in establishing the cultural identity and variety of such countries. Improvement of Korean animation funding system is not pursued by more injection of public fund into the industry. It should be designed to facilitate the investment from the private sector by improving the profitability of Korean animation. This goal can be achieved by public fund with annual budget of 25 billion Korean Won supporting the distribution and production of Korean animation. Discussion should be needed for securing the funding resources such as establishment of new animation fund or utilization of existing fund.

• Cartoon and Animation Studies
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• s.26
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• pp.157-172
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• 2012

In order to overcome the limits of domestic image content market, entering the global market is inevitable and expanding our market volume in foreign market as in domestic market is an important factor that determines the future of Korea image content industry. Suggestions and discussions on policy for investments on domestic image content should be carried out to resolve such situation. Specially, the reason why cooperative system of central government and local government is in dire need is because cultural content industry support measures of central government is unsatisfactory and local government is not adequate enough to respond to the global environment because investment resources of small and medium enterprises in cultural content is insufficient. This paper intends to study cases of policy promoted by domestic local government and support cases of foreign countries when domestic image content industry is expanding into the global market, and to search for solutions from integrated functional perspective of central government and local government for international co-production environment. This study suggests the necessity of political connection in terms of central government strengthening assistance policy on dispersed policy of local government who operates 11 cultural industry promotion districts throughout the country. First, this study suggests the possibility of expanded international co-production by central government and local government through investment(fund).