• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.109-124
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• 2020

This study examines the concentration in terms of supply and consumption in the Korean movie market, focusing on screen size, nationality, and the box office. For analysis, it selects the top 100 movies in the box office each year for 15 years from 2005 to 2019. According to the result, the number of screens increased steadily every year, and the screen concentration became very high. For the top 100 movies, it increased from 12% to 30% of the total screen. It became higher in the case of the top 10 movies. As the number of screens increased, multiplex assigned more screens to one movie. Multiplex's screen allocation continued to increase, with one movie taking up more 60% of the total screen. This became more serious after 2011 and 2012. Market share of the top 100 movies accounted for about 95% of the total box office performance, even though the number of released movies is about 3,000. Whether multiplex preferred Hollywood movies or not, its screen assignment was found to favor Hollywood movies over Korean ones. In the case of film nationality, both Korean and Hollywood movies accounted for 90.7%. Two countries had a market share of 96.6%. There was no single side except Korea and the United States in the top 10. The increase in the number of screens deepened the concentration in screen allocation. The concentration in the screen allocation led to the concentration of consumption. The Korean film market is the case where the increase of movie screens did not create a diversity of supply and consumption. It also did not affect the diversity of film nationality. This research reveals that supplied concentration and consumed concentration are positively correlated, and that the former is a little lower than the latter.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.381-393
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• 2010

The purpose of this research is to identify the different determinants according to the types of motion pictures; art film and commercial film. We found that the regression equations of two types of motions pictures are structurally different. More specifically, we identified that the number of screens, viewers' evaluation, and genres have a significant relationship with the performance of motion pictures both in the commercial and art film. However, director, ratings, critics, power of agency, nationality, and the timing of release affect the performance of motion pictures just on the art films.

• Cartoon and Animation Studies
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• s.16
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• pp.21-32
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• 2009

This study provides an empirical analysis of box office performance for animation movies released in Korea between 2003 and 2008. Two dependent variables are both the number of audiences in the whole country and the number of audiences in Seoul. Such independent variables are employed : power of distributors, the number of screens, release time, sequel/remake, awards, film ratings, nationality, online reviews, and critics' reviews. For the total number of audiences in the whole country, significant variables are the number of screens, the power of USA distributors, Summer release, and online reviews. Since there is no analysis for box office performance for animation movies released in Korean theaters, this study will be considered to be meaningful.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.93-107
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• 2014

Recently Korean film industry has continuously experienced a rapid growth and expanded its influence to foreign countries. Accordingly, there have been numerous studies in various research areas to investigate the characteristics of the industry. In this study, we applied social network analysis based on the attributes such as genres, ratings, distributors, nationalities, sizes, and profitability to divide the movies into several clusters with respect to their similarity. Results suggested that the ratings and nationality rather than the genre are the major factors to divide the motion picture market into clusters and the profitability also varies much across the clusters. Furthermore, estimation of the diffusion model showed the positive relationship between the success of a movie and the word-of-mouth effect, while the relatively unsuccessful titles exhibited a monotonic decreasing diffusion pattern with the high initial demand and the early peak time.

• The Korean Journal of Applied Statistics
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• v.29 no.7
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• pp.1257-1270
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• 2016

This study deals with the prediction of the total number of movie audiences as a measure for the box office. Prediction is performed by classification techniques of data mining such as decision tree, multilayer perceptron(MLP) neural network model, multinomial logit model, and support vector machine over time such as before movie release, release day, after release one week, and after release two weeks. Predictors used are: online word-of-mouth(OWOM) variables such as the portal movie rating, the number of the portal movie rater, and blog; in addition, other variables include showing the inherent properties of the film (such as nationality, grade, release month, release season, directors, actors, distributors, the number of audiences, and screens). When using 10-fold cross validation technique, the accuracy of the neural network model showed more than 90 % higher predictability before movie release. In addition, it can be seen that the accuracy of the prediction increases by adding estimates of the final OWOM variables as predictors.

• The Korean Journal of Applied Statistics
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• v.29 no.4
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• pp.657-678
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• 2016

This study deals with the effect of online word-of-mouth (OWOM) variables on the box office. From the result of statistical analysis on 276 films with audiences of more than five hundred thousand released in the Korea from 2012 to 2015, it can be seen that the variables showing the size of OWOM (such as the number of the portal movie rater, blog, and news after release) are associated more with the box office than the portal movie rating showing the direction of OWOM as well as variables showing the inherent properties of the film such as grade, nationality, release month, release season, directors, actors, and distributors.

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.