• Journal of Radiation Industry
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• v.9 no.4
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• pp.171-180
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• 2015

Vascular tissue engineering has been accessed to mimic the natural composition of the blood vessel containing intima, media, and adventitia layers. We fabricated mechanically expanded PLLA/PLCL nanofibers using electrospinning and UTM. The pore size of the meshes was increased the gelatin immobilized AAc-PLLA/PLCL nanofibers ($203.30{\pm}49.62microns$) than PLLA/PLCL nanofibers ($59.99{\pm}8.66microns$) after mechanical expansion. To increase the cell adhesion and proliferation, we introduced carboxyl group, and gelatin was conjugated on them. The properties of the PLLA/PLCL nanofibers were analyzed with SEM, ATR-FTIR, TBO staining, and water contact angle measurement, general cell responses on the PLLA/PLCL nanofibers such as adhesion, proliferation, and infiltration were also investigated using smooth muscle cell (SMC). During the SMC culture, the initial viability of the cells was significantly increased on the gelatin immobilized AAc-PLLA/PLCL nanofibers, and infiltration of the cells was also enhanced on them. Therefore, gelatin immobilized AAc-PLLA/PLCL nanofibers and mechanically expanded meshes may be a good tool for vascular tissue engineering application.

• Cartoon and Animation Studies
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• s.35
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• pp.209-226
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• 2014

Chinese cartoon industry lately was able to see a rapid development which changed cartoon creative personnel associated with increased production technology development, new technologies, government support policy and a variety of environments. It was likely to have high expectations for changes in the policy environment of the country supported the comic creators and authors to develop its own comic industry. The State Administration of Press, Publication, Radio, Film and Television of China promoted the production for the development of Chinese animation with "domestic little video about the development of the animation industry's opinion", and "documents Documents". Animation industrial base and animation education was established in institutions such as the organization one after another. In the meantime, the spread of Japanese comics picture on the creative activation admitted but their comic creation and activation was slump. It would produce that the creation of its traditional culture based activation strategy to built comics. Since 2004, It was well represented for the creators of the cartoon creation of the tradition and uniqueness of Chinese history. In the prior to 2004, comics and strategies was to be differentiated. Today, China is an important source of comic marked the fact that the tradition was recognized and it was further developed with combining creativity of the past and the present production system. Comic creators comic story of traditional culture were excavated in order to have a sense of awareness and modern. The difference between China Cartoon and comics in other Asian countries is true that cartoon story came out naturally in a traditional culture. In this study, It would lead in the future to allow directional presented for the digital cartoon making development policy awareness through the comic creation and production of new media content industry enabled to China. Now, in the new media industry for the development of China's neighboring countries coped with climate change for the active exchange of information. It poured out ceaseless technical development and a range of policies to support business expansion. New China Cartoon was leaped to re-fit the industry.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.1-13
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• 2020

Tencent is an internet-based entertainment platform corporation using technology to enrich the lives of Tencent platform users and assist the contents expansion. Since 2000, Tencent have developed a great growth and innovation in entertainment contents domain. Tencent have become the market leading innovator due to the imitative innovation and M&A. The present study designed case study analyses to investigate the mechanism with regard to the growth strategy of Tencent corporation. Tencent began with imitative internet-based game and social messaging services but then added its own wechat messenger platform, now being extended to other products or services. This imitative innovation strategy enabled Tencent corporation to grow rapidly, to achieve outstanding growth. In addition, Tencent's M&A investment drive is underpinned by a vision of top management team and flexible organizational culture, from building out the Tencent's entertainment platform, game, finance, e-commerce, to global market expansion. While our results shed light on the implications to understanding Tencent's growth, there are limitations of the current study that should be considered when designing next research.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.323-331
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• 2020

In order to prolong the Shin-Hallyu and make a significant leap forward, we analyzed the characteristics of Jambinai, Singsing Band, and Ackdan Gwangchil, bands that are recognized globally for their musicality and popularity. First, the socio-cultural background behind the world's attention on korean traditional music lies in the racial and cultural diversity that embraces the non-mainstream identity. In particular, the success of Korean traditional music fusion bands in non-Asian countries can satisfy their public seeking to enjoy an exotic culture that is different from Western culture. it is necessary to recognize cultural, social and musical differences depending on the country or ethnicity and to approach them accordingly. Second, in the same Asian region, Korean traditional music is not given a sense of homogeneity, but in the West, the Eastern heterogeneity seems to have become a stronger ompetitive edge. With the expansion of the new Korean Wave to various regions, it is necessary to try to form a regional repertoire. Third, we found the validity of the convergence with the new Korean Wave through the characteristics of Gugak musicians as the main body to build a world of traditional music and enable popularization and globalization. It is necessary to highlight korea's traditional cultural value through analytical research on the effects of tone, composition and directing techniques reflected in korean traditional music or musical elements. The uniqueness and Korean values provided by Gugak will serve as homogeneity in Asia and heterogeneity in Europe and the United States, presenting the possibility of New Hallyu content and contributing to the prolonged Korean Wave.

• Asia pacific journal of information systems
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• v.21 no.1
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• pp.81-101
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• 2011

In today's rapidly changing and increasingly competitive business environment, new product development in tune with market trends in a timely manner has been a matter of the utmost concern for all enterprises. Indeed, developing a sustainable new business has been a top priority for not only business enterprises, but also for the government policy makers accountable for the health of Its national economy as well as for decision makers in what type of organizations. Further, for a soft landing of new businesses, building a government-initiated industry base has been claimed to be necessary as a way to effectively boost corporate activities. However, the existing methodology in new service and new product development is not suitable for nurturing industry, because it is mainly focused on the research and development of corporate business activities instead of new product development. The approach for developing new business is based on 'innovation' and 'convergence.' Yet, the convergence among technologies, supplies, businesses and industries is believed to be more effective than innovation alone as a way to gain momentum. Therefore, it has become more important than ever to study a new methodology based on convergence in industrial quality new product development (NPD) and new service development (NDS). In this research, therefore, we reviewed any restrictions in the existing new product and new service development methodology and the existing business model development methodology. In doing so, we conducted industry standard collaboration analysis on a new service model development methodology in the private sector and the public sector. This approach is fundamentally different from the existing one in that ours focuses on new business development under private management. The suggested framework can be categorized into industry level and service level. First, in the industry level, we define new business opportunities In occurrence of convergence between businesses. For this, we analyze the existing industry at the industry level to identify the opportunities in a market and its business attractiveness, based on which the convergence industry is formulated. Also, through the analysis of environment and market opportunity at the industry level. we can trace how different industries are lined to one another so as to extend the result of the study to develop better insights into industry expansion and new industry emergence. After then, in the service level, we elicit the service for the defined new business, which is composed of private service and supporting service for nurturing industry. Private service includes 3steps: plan-design-do; supporting service for nurturing industry has 4 steps: selection-make environment- business preparation-do and see. The existing methodology focuses on mainly securing business competitiveness, building a business model for success, and offering new services based on the core competence of companies. This suggested methodology, on other hand, suggests the necessity of service development, when new business opportunities arise, in relation to the opportunity analysis of supporting service based on the clear understanding of new business supporting infrastructure optimization. Meanwhile, we have performed case studies on the printing and publishing field with the restrict procedure and development system to assure the feasibility and practical application. Even though the printing and publishing industry is considered a typical knowledge convergence industry, it is also known as a low-demand and low-value industry in Korea. For this reason, we apply the new methodology and suggest the direction and the possibility of how the printing and publishing industry can be transformed as a core dynamic force for new growth. Then, we suggest the base composition service for industry promotion(public) and business opportunities for private's profitability(private).

• 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.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.45-58
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• 2021

This study aims to select representative performance art visualization projects that react to changes in the culture enjoyment methods and needs of contemporary performance art consumers for performance art culture value creation and vitalization that suit the Fourth Industry and a global age, verify new cultural value creation possibilities of performance projects, and look into important matters and keynotes of production processes. Focusing on the report 'NT Live-Digital broadcast of theatre Learning from the pilot season'(2011), a thorough analysis was conducted on the Royal National Theatre of England, a leading model of cinema broadcast performance visualization projects, including the purpose, production processes (copyright agreements, personnel compositions, filming and broadcasting), marketing methods, and audiences of its "NT Live" project and observations were made of production processes and cultural and artistic values that differ from existing performance art to examine administrative and financial keynotes for the sustainability of performance visualization projects. Through this, possibilities of source creations with artistic, cultural, and economic values that cinema broadcast (live performance broadcast) performance viewing methods have as a new form of performance art products can be verified. In addition, the development of various performance approaches that respond to the culture enjoyment methods and consumption patterns of audiences will result in the vitalization of performing arts visualization projects through the enhancement of popular appeal and the expansion of audience types of the performing arts field.

• Asia Marketing Journal
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• v.15 no.1
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• pp.1-22
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• 2013

This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

• Journal of the Korean Society of Costume
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• v.29
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• pp.5-22
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• 1996

the present thesis aims to contribute to the further development of the men's wear indus-try in Korea which now confronts the need to adjust itself more actively to the conditions of the coming age of internationalization and free trade. To achieve this this thesis suggests the trade should provide for the changing domestic needs on theone hand and refine its wares as high value-added products in compe-tition with those from the advanced countries in fashion industry on the other, The history of the 'suit' the standard men's attire dates back to 1850 when the 'Ditto suit' was introduced composed of coat waist coat vest and trousers to remain virtually unchanged till the end of the nineteenth cen-tury and the modern men's wear originated in Britain. In Korea since the introduction of western clothes from 1876 custom-made suits had been dominant until 1944 while western clothes earned popular currency between 1945 and 1964 and ready-made suits began to spread with their advantages recognized in terms of practicality convenience and functionality The next phase from 1965 to 1985 witnessed the establishment of a number of ready-made brands although custom-made suits stayed in their height of prosperity until 1975. The turn-ing point for the men's wear industry came in 1975 when high-calss ready-made brands be-gan to turn up with the arrival of large companies in the market matching the change in consumers' life style. The men's wear market went through further diversification and specialization dur-ing the years between 1985. and 1990. Around the year 1990 however the expansion of the business suit industry came to slow down ac-companied by an oversupplied market. The fashion of pragmatism in the 1990s called for the growth of the casual wear department and as consumers' life style became more and more individualized conscious dressing in accord ance with T.P.O established itself as an important branch of culture, Such casual boom is likely to aid in promoting Korea's men's wear indus-try to peer with that of advanced countries. Consumers' fashion sense is now ahead of the trade's as well as being shortcycled highly individualized stylized and diversified. To meet consumers' demands under such circum-stances each company is required to develop its unique soft Know How based on accurate information and strategically specialized plan-ning. The trade should convert its hithero producer-oriented strategy to a new consumer oriented one and actively lead the needs and purchasin g pattern of consumers by providing an efficient and reasonable price policy with optimum supply of merchandise and also by presenting 'our' trend suited to our circum-stances.

• Journal of Korea Technology Innovation Society
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• v.17 no.2
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• pp.421-447
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• 2014

Traditional medicine has been integrated into the national health system in many countries such as Korea, China, Taiwan, etc. Korea and China are most representative among them. The purpose of this study is to compare the policies on traditional medicine in Korea and China focusing on where it came from and where it is headed. In this regard, the study suggested the first analysis tool in the world for analyzing the policy of traditional medicine. The results of the study are as follows: First of all, the development process of Korean Medicine (KM) and Traditional Chinese Medicine (TCM) shows the same pattern, that is, both are influenced by its own national policies. Secondly, the difference between the two countries is due to the gap in the development status or the different aspects in national heath system. TCM is more vitalized in health system and has larger category, and stays ahead in globalization compared to KM. TCM covers Chinese medicine, integrative medicine and ethno-medicine. Korea emphasizes the role of KM in the declining birthrate and aging society, and promotes the overseas patient invitation strategy. China, on the other hand, establishes the medical system for emergency medical treatment and preventive treatment of major diseases and promotes overseas expansion of TCM service. In addition, Korea stressed the safety and distribution of herbal medicine, and China emphasizes production technologies. Korea has a strong medical device industry along with the government's fostering policy; however, in China, medical devices are in the R&D stage yet. Even though both countries promotes the drug development from natural products, Korea focuses on developing herbal cosmetics in application industry, but China shows weakness in policies on application industry. China shores up the foundation for culture and theory of traditional medicine, while Korea doesn't have related policy. Korea places emphasis on promoting collaboration with international organizations and medical volunteer programs, whereas China is more interested in mutual cooperation and real trade with other countries.