• Korean Architects
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• s.619
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• pp.170-173
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• 2020

• Korean Architects
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• s.620
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• pp.190-193
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• 2020

• Korean Architects
• /
• s.618
• /
• pp.142-145
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• 2020

• Korean Architects
• /
• s.622
• /
• pp.108-111
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• 2021

• Korean Architects
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• s.626
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• pp.100-103
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• 2021

• Korean Architects
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• s.624
• /
• pp.92-95
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• 2021

• Korean Architects
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• s.628
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• pp.100-103
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• 2021

• Communications for Statistical Applications and Methods
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• v.19 no.5
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• pp.731-741
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• 2012

The Korean film industry has grown fast since the 2000s in terms of entering the 50% market share level, the emergence of 10million box-office movies and export performance improvement; however, the earning rate of production and investment part has decreased and recorded a minus value since 2005. This article aims to find key the determinants for the success of Korean movies from 2001~2006, a period of high growth and success of the Korean film industry through a multiple regression analysis. This paper introduces new determinants such as the interaction effect of the director and lead actor as well as mass culture codes. Finally, the authors suggest some proposals to make the Korean Film Industry more profitable.

• International Journal of Contents
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• v.9 no.3
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• pp.55-61
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• 2013

The Korean films in the 1980s played an important role in impeding the interaction between the media and the audience. In terms of two mechanisms of money and power, the Korean films lost the function of publicity and were forced to disregard positive aspects of culture as a way of understanding society. As a mass medium, the film did not give people the space for critical thought and discussion on social reality. This study tries to discuss how Korean movies in the 1980s functioned as a bulwark of critical debate provided by the interaction between cultural texts and audiences through the notion of the public sphere. For Habermas, the public sphere provides a basis for critical analysis in order to reveal the relationship between media and economic and administrative power in a modern society.

• Journal of the East Asian Society of Dietary Life
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• v.16 no.5
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• pp.497-505
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• 2006

This questionnaire study was conducted to investigate the levels of recognition and attitude for Korean traditional food among Japanese tourists. The aim was to provide basic data for making a detailed marketing direction alignment of globalization and commercialization of Korean traditional food. The results can be summarized as follows. The 'Korean wave(Hanliu)' was 'the number of known Korean star performers'(3.77 points), 'the number of watched Korean dramas'(3.67 points), 'the number of watched Korean movies'(3.44 points), 'the number of owned Korean singer's tapes or CDs'(3.04 points), 'the number of read books'(2.83 points), and 'the number of viewed cartoons'(2.49 points), in order. The high-intake frequency of Korean traditional foods was 'Bibimbap', 'Galbigui', 'Baechookimchi', 'Bulgogi', 'Kkakdugi', 'Tteokbokki', 'Japchae', 'Galbitang', 'fajeon', and 'Namullyu' in order. On the other hand, the intake frequency of 'Songpyeon', 'Inielmi', 'Sikhye' and 'Sujeonggwa' was very low. The most effective 'Hanliu' item for raising the recognition of Korean traditional food was 'the number of read books'. The most effective 'Hanliu' item for raising the experience of Korean cooking was 'the number of read books', followed by 'the number of watched Korean movies', 'the number of watched Korean dramas', and 'the number of viewed cartoons' in order. The most effective 'Hanliu' item for raising the intake frequency of Korean traditional food was' the number of watched Korean dramas', followed by 'the number of watched Korean movies' and 'the number of read books' in order.