• International Commerce and Information Review
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• v.12 no.4
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• pp.327-344
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• 2010

This study intends to analyze the trade competitiveness of Korean films in international markets. Under environmental of film industry, Korean films could be doing better. But the Key success factors Korean films in the foreign markets are the improvement of contents Quality and the diversification of trade market. Namely, Our films is mainly exporting Japanese market and the import depends upon American films. In case the trade specialization index(TSI), The international competitiveness of Korean films shows lower import specialization, by virtue of export increasing of Japan, Europe and other markets in 2000's. On the other hand, The Export Market Share has shown similar pattern to main markets except Japanese market, and the import was almost similar to trend in foreign markets except American films. Consequently the present film strategies and polices that delight limited markets will not be compete in global markets, Korean films or contents is merely called by that name.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.354-364
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• 2016

With the advancement of the digital convergence of content and platform, Korean film industry sees good opportunities of maximizing the profits and increased distribution opportunities by independent film makers. Nevertheless, the domestic film market almost entirely relies on the box office sales, which seems to be caused by the stagnation of new additional copyright market. The study aims to address the following problems: First, information asymmetry of the revenues to which the contents providers and the service providers are exposed leads to the distrust among digital film contents businesses and the disadvantages to film makers and investors, in particular. Secondly, the VOD(Video on Demand) market of film industry is adversely affected by the illegal uploads and downloads of film contents, which harms the formation of paid additional market. Based on the examination of current legislation and policy options addressing these issues, the study suggests legislative accomodations and cultural industry policy alternatives to promote the additional market of film industry.

• Proceedings of the Korean Vacuum Society Conference
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• 2012.08a
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• pp.88-88
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• 2012

High efficiency thin film photovoltaic device technology is reviewed. At present market situation, the industrial players of thin film technologies have to confront the great recession and need to change their market strategies and find technical alternatives again. Most recent technology trends and technical or industrial progress for Silicon thin film and CIGS are introduced and common interests for high efficiency and reliability are discussed.

• Knowledge Management Research
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• v.12 no.3
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• pp.1-25
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• 2011

This research empirically examined the determinants of competitive advantages and performance of Korean film industry from 1996 to 2003 over a sample of 396 movies. Especially, the effects of knowledge-based resources, social capital, product differentiation strategy, and market entry strategy on a film performance were hypothesized and empirically tested. Findings of this study are as follows; First, confirming the importance of knowledge-based resources in film industry, both the superior business track records of producers and the superior artistic track records of directors and actors had positive effects on film performance. Second, supporting social capital hypotheses, while the strong ties between directors and producers had positive effects, the strong ties between directors and actors had negative effects on film performance. Third, confirming the importance of product differentiation strategy, genre differentiation against competing films had positive effects on film performance. Finally, confirming the importance of market entry timing, the number of competing films released following a film opening within a week had negative effects on film performance. The findings of this research suggest that producers, directors, and actors are not only the critical knowledge-based resources to create competitive advantages indeed, but the pattern of relationships among them also systematically influences the film performance. Moreover, it is suggested that film performance may be improved by the proper genre differentiation and opening day selection.

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

• 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.

• 한국정보디스플레이학회:학술대회논문집
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• 2009.10a
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• pp.151-151
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• 2009

In this presentation, CD BLU optical film market and technology trends are introduced at first. Then hghly precise, cost-advantaged MNTECH's specialized Soft Mold replication Technology and its optic films are contained.

• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.375-385
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• 2020

This paper attempts to understand the reality of Netflix on the Korean film distribution market environment, and to verify the possibility of developing domestic content centered on independent films in the OTT market, led by Netflix. The research significance of finding the way for Korean diverse films and independent films that cannot be provided with investment and distribution opportunities in various Korean Wave contents will be studied, and the characteristics of Netflix in the Korean film market will be explored. Netflix disseminates Korean contents such as Korean movies and Korean dramas, contributes to the spread of the Korean Wave, and is re-adjusting the paradigm of the distribution market, raising issues that cause a virtuous cycle of profits, controversy over net usage fees, and flooding of Hollywood movies. Considering the nature of intercultural exchange, the interaction between independent film content, Netflix platform, audience, and global market will expand interactive communication opportunities. In other words, just as Netflix uses the Korean media market to make profits, Korea should also use Netflix to try to expand the global market of Korean film contents (K-Film)and maintain a cultural and economic reciprocal attitude.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.51-61
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• 2013

This Paper aims to explore the key factors that drive box-office success in Korean, Chinese and Japanese film market regarding to the storytelling of the movies. At first, I researched the top 20 movies at the box office of Korean, Chinese and Japanese film market from 2007 to 2011.And then I tried to figure out the key factors for the success and the differences among those countries. Usually the purpose of the movie planning in Korea is for the domestic market. In the profit structure of Korean film industry, it is really hard to focus on the overseas film market. In Chinese film market, recently it has been changed a lot especially film genre. The movie liked to watch is melodrama, romantic comedy movie It is being changed to the comedy genre from the war and martial arts movie. And it is emphasized the importance of the scenario in the film production. They want to watch their lives like a real and dreams at the movie and the movie tries to show this trend. In Japanese film market, they made movies in which TV drama, animation and cartoon according to the O.S.M.U. strategy. The movies like to watch are the blockbuster movies, horror movies, thriller movies and melodrama. Comparing with Korea and China, they like movies which show more fantastic and fairy tale imagination.

• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.136-145
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• 2010

China shows an evident growth in its visual culture in recent years, fueled by its accumulated wealth and the influx of relatively advanced visual culture from Hong Kong. There have been recent attempts to further the economic ties with Taiwan to form a pan-Chinese film market. Considering most Chinese blockbusters are produced by film makers in Hong Kong, it is safe to claim that Chinese films are the extension of Cantonese films. This text examines the past makings of Korean-Cantonese films and their influence. Based on the findings, it explores the necessary efforts on a civil level and the governmental support, required for Korea to make its way into the pan-Chinese film market as an equal participant. Such foundation would protect Korean film market in the midst of fast-changing media scape and serve as a stepping stone for Korea's advance into the pan-Chinese visual market.