• Journal of the Korea Institute of Information and Communication Engineering
• /
• v.24 no.2
• /
• pp.329-332
• /
• 2020

Recently, IP (Intellectual Property) films have attracted much attention in the Chinese film market. This raises the need to take intellectual property films seriously in academic terms. The purpose of this study is to explore the effective methodology of content development based on intellectual property by analyzing the recent trend of Chinese intellectual property films. Recently, the driving force of the development of Chinese intellectual property films was analyzed, and the trend of Chinese intellectual property films was analyzed. The results of this study criticized the fragmented problems caused by the development of intellectual property films. This study made practical and academic suggestions to contribute to the healthy development of the intellectual property film market.

• International Journal of Contents
• /
• v.18 no.1
• /
• pp.40-55
• /
• 2022

Kung fu films stand out among many types of films and are sought after by a large number of loyal audiences. In order to explore the mystery, we use the theory of uses and gratifications theory to study kung fu films in order to explore the audience's viewing needs of kung fu films In the existing research, most scholars adopt qualitative research and Chinese culture contained in kung fu movies. Few people use quantitative research, and this area of research is almost blank. Therefore, we conducted a quantitative research on kung fu films based on the methodology of uses and gratifications. The questions revolve around: Can kung fu movies meet audiences' needs? What is the purpose of watching a kung fu movie? After analysis with SPSS, interesting results emerged. In the regression analysis, we found that the psychological need for compensation has a positive impact on Viewing satisfaction, while the social need has a significant negative impact on viewing intention. At the end of the article, we also put forward my own solutions. We also hope to provide better suggestions for the development of Chinese kung fu films through my research, so as to make kung fu films more perfect.

• Cross-Cultural Studies
• /
• v.27
• /
• pp.105-122
• /
• 2012

This article aims that Chinese characters represented in Korean films have been explored for historical consideration of Korean's viewpoint on Chinese from early modern to the present day. During Japanese colonial period, Chinese had been hateful and feared by most of Korean because Korean had been acted high-handedly by chinese in early modern time and had covertly regarded chinese as threatening competitors in economical part of the colony, refered to the chinese characters represented in the films, For the Lover(1928) and Secret of Chinese Street(1928). Chinese had been called as enemy forces in Korean movies, such as Marines are Gone(1963), Dragon competed with tiger(1974) made with Korean battle field setting and Manchuria setting developed a Korean independence movement, after Korean War in the 1960-70s maintained the cold war system in the World. According to analyzing chinese characters depicted in Failan(2001), A Good Rain Knows(2010), Korean public have a friendly attitude with contemporary Chinese as China has been the great trade partner of Korea with interdependent relationship after 1992, the year of Korea have established diplomatic ties with China.

• The Journal of the Korea Contents Association
• /
• v.14 no.11
• /
• pp.111-124
• /
• 2014

This dissertation is to seek new valuable possibility of the 100 best Chinese films on storytelling in Chinese films as considering about content development of Korea and China's Collaborative film production and extension, that being magnified as a new content for variety of Korean film production. The moment to the Korean wave is getting cold in Japan, Korean wave is attempt to receive attention in new field through China by various image field with Korean drama's appeal. However, film content fall short of our expectation than media content, even if supporting much various attempts with Korea and China's Collaborative film production content. Specially, there are not satisfied films for Korea and China both counties's audience, although Korea and China's Collaborative film production has been produced steadily. The writer studies on stories of Chinese essential 100 films for searching deeply this problem. Among them, in selected 'The 100 Best Chinese Films' by China in 2005, films in 1930's are selected as the first step to study, and this dissertation searches to communicate storytelling's meaning in Chinese films through that time image. This studies what is the point of selected story by China, and there are what kind of worries. This dissertation considers that focused on characters, event and background. Chinese film in 1930's represented life in times through process of play development that is connected with poverty, reality of society, death, tragedy and tragicomedy.

• International Journal of Internet, Broadcasting and Communication
• /
• v.16 no.1
• /
• pp.297-306
• /
• 2024

At a specific juncture in industrial development, animation emerges as a product imbued with discernible features characteristic of the mechanical replication era. Through the integration of technology, it continually gives rise to postmodern cultural traits. Notably, the trajectories of postmodernism in China and Western Europe exhibit divergence. Following the reform and opening up, both postmodernism and modernism found acceptance and became interwoven. Chinese animated films, influenced by postmodernism, actively challenge traditional animation norms, exemplifying postmodern characteristics such as deconstruction, intertextuality, indeterminacy, collage, and diversity. This article endeavors to delve into the discourse surrounding postmodernism in both Western and Chinese contexts. It aims to scrutinize the manifestation of postmodern features, particularly with regard to ethnic elements, traditional mythological texts, and gender representations in Chinese animated films. Consequently, it becomes imperative to contemplate the affirmative adaptation and independent development of postmodernism within the unique Chinese milieu. Building upon an analysis of noteworthy traditional animated film genres and developmental trends in China, this study focuses on animated films from the 21st century, specifically Monkey King: Hero is Back, Big Fish & Begonia, Dahufa, White Snake and Nezha: Birth of the Demon Child. The paper seeks to explore the overarching characteristics of postmodernity reflected in the linguistic environment of postmodernism in China.

• Cross-Cultural Studies
• /
• v.44
• /
• pp.191-209
• /
• 2016

This article aims to analyze the perception of Korean-Chinese in South Korea to understand the mentality of South Korean people in a multicultural society through exploring Korean films in which Korean-Chinese characters have been represented since 2000. For this purpose, Korean-Chinese characters represented in Korean Films are divided into male and female. It could be said that South Koreans are biased against Korean-Chinese, who are considered 'others' under the economic and cultural hierarchy. Female characters are presented as 'pure' and 'frail' in the migration narrative while male characters are 'indecent' and 'brutal' individuals in crime narrative films. Meanwhile, Haemoo [Sea fog] is a story about economically weak Koreans and Korean-Chinese who were in economical conflict with each other, but were victims of the economical restructuring systems under neo-liberalism.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.3
• /
• pp.65-73
• /
• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.

• Journal of the Korean Vacuum Society
• /
• v.4 no.S2
• /
• pp.40-48
• /
• 1995

$TiB_2$-TiN double-layer coating have been prepared by ion beam enhanced deposition. AES, XRD, TEM and HRTEM were employed to characterize the $TiB_2$ layer. The microhardness of the coatings was evaluated by an ultra low-load microhardness indenter system, and the tribological behavior was examined by a ball-on-disc tribology wear tester. It was found that in a single titanium diboride layer, the composition is uniform along the depth of the film, and it is mainly composed of nanocrystalline $TiB_2$ with hexagonal structure, which resulted from the ion bombardment during the film growth. The hardness of the $TiB_2$ films increases with increasing ion energy, and approaches a maximum value of the $TiB_2$ films increases with increasing ion energy, and approaches a maximum value of 39 Gpa at ion energy of 85 keV. The tribological property of the TiB2 films is also improved by higher energy of 85keV. The tribological property of the $TiB_2$ films is also improved by higher energy ion beam bombardment. There is no major disparity in the mechanical properties of double-layer $TiB_2$/TiN coatings and TiN/$TiB_2$ coatings. Both show an improved wear resistance compared with single-layer $TiB_2$ films. The adhesion of double-layer coatings is also superior to that of single-layer films.

• The Journal of the Convergence on Culture Technology
• /
• v.5 no.4
• /
• pp.339-347
• /
• 2019

This is a comparative cultural study on the cultural dimensions of the Korean original film and its Chinese remake film. This research is based on the cultural dimension study by Dutch organizing psychologist Geert Hofstede (1991). In this research I have tried to compare cultural dimensions that are shown implicitly in the original Korean film of "Blind" and its Chinese remake, entitled "The Witness", in terms of the narrative structures.

• Journal of the Korean Vacuum Society
• /
• v.7 no.s1
• /
• pp.167-170
• /
• 1998

To apply diamond films in microelectromechanical systems(MEMS), it is necessary to develop the patterning technologies of diamond films in the micrometer scale. In this paper, three different kinds of technologies for patterning CVD diamond films carried out by us were demonstrated: selective growth by improved diamond nucleation in DC bias-enhanced microwave plasma chemical vapor deposition (MPCVD) system, selective growth of seeding using diamond-particle-mixed photoresist, and selective etching of oxygen ion beam using Al as the mask. It was show that high selectivity and precise patterns had been achieved, and all the processes were compatible with IC process.