일본영화소사 연구

복환모 한국영화교육학회 2000 영화교육연구 Vol.2 No.-

영화「쇼생크 탈출」의 표현형식에 대한 연구

복환모 호남대학교 1998 호남대학교 학술논문집 Vol.19 No.2

The purpose of this study is to analyze several scenes of the film to see its technique and the intention to use them. 「THE SHAWSHANK REDEMPTI0N」 is a film to describe the will of a man under the restriction to recover the freedom. The director, Mr. Frank Darabonts, shows formulated scenes consistently to represent a man's strong will to get out of the unfair suffering by the power in the film. In the film the camera lens symbolizes a wall of prison. Andy and Red, the characters in the film, are showed at the close distance by the medium shots. The audience can feel a kind of restriction by these shots. But he describes the free space which Andy feels after breaking the prison by the long shots. Various forms of expression are formulated for the motive and used to describe the theme of a film and express its mood.

한국의 영화진흥제도 연구

복환모 한국영화교육학회 2002 영화교육연구 Vol.4 No.-

The market environment for the Korean movies has been going through tumultuous changes recently. The domestic Korean market has been liberalized completely to the foreign concerns and while the movie market size itself is expanding, the share of the total market assumed by Korean films is increasing quite significantly. There are a number of reasons for the strong emergence of the Korean film industry but the film promotion policy by the government have proven to be a significant impetus. During the Korea-US Movie Negotiation of 1985, it was agreed that the domestic Korean movie industry would be opened to the United States and accordingly, the Korean movie industry and the government felt an impending crisis on Korean movies and started researching for ways to promote the Korean film industry, moving away from the film policy that had been largely focused on regulating the industry. Korean Film Commission was created after the Film Promotion Law was amended in 1999 and the Film Promotion Trust was also established for businesses that would promote movies. The Film Promotion Trust is building up its reserves with the aim of amassing 167 billion won by 2003. The interest income is being used for supporting film organization businesses, movie-related creative activities, and overseas promotion, In addition, the Art Cinema Hall, Korean Movie Hall, and Visual Image Media Center will be supported through lending. The recent emergence of Korean films have primarily centered on commercial movies that appeal to the general public. If social functions of a movie were said to have both industrial and cultural aspects, recent Korean movies seemed to have had too much emphasis on the industrial aspect. The film promotion system also has its focus on proliferation of the film industry. Elements of diversification and public goods as cinematic art are lacking. Diversifying the interests of moviegoers and sharing cinematic art on a wide basis by each region will ultimately promote the expansion of the base of film industry and sustained advancement of the industry itself. Going forward, the Korean film promotion policy should be researched taking into consideration such cultural aspects even further.

영화 「쇼생크 탈출」의 표현형식에 대한 연구

복환모 한국방송학회 1998 한국방송학회 학술대회 논문집 Vol.- No.-

일본 애니메이션 영상 산업 연구

복환모 한국영화교육학회 2001 영화교육연구 Vol.3 No.-

A demand for the Japanese animation is on a remarkable rise, not only in the Japanese domestic market, but also in the worldwide animation market. Especially, the Japanese TV animation is currently assuming 65% of the animation being aired by TV broadcasters around the world. This thesis explorers the trends of and delves into the forms of Japanese animation industry, the leader of global market, in the context of "character" industry, which is a supplementary industry to the Japanese animation industry. Animation creates high added values vast in scope, encompassing related industries, including characters and games, that make the overall industry much larger in scope that it would have been otherwise. Whereas the Japanese animation production market is about 30 billion yen, including TV and movie theaters, in terms of monetary value, the market for characters is over 1 trillion yen within Japan alone. For instance, the <Pocket Monster> character market in Japan has reached a staggering 400 billion yen and 200 billion yen in revenues overseas. The market for the animation industry is spreading over more regions of the world by the day as it is linked with worldwide distribution network. The character industry is seeing a rise in product value thanks to the development of DVDs, games, and Internet. Thus, Japan views the animation industry and its supplementary character industry as the leading industries of the 21st century, the century of visual images, and is aggressively pushing for their development. Such efforts have been linked with the animation industry, including TV, movie theaters, and OVA that create characters, to allow the Japanese animation to add on its competitive strengths worldwide.

필름 아카이브의 역할과 영상자료원의 발전 방안

복환모 한국영화학회 1997 영화연구 Vol.- No.13

필름 아카이브의 역할과 영상자료원의 발전 방안

복환모 한국영화평론가협회 1997 映畵 評論 Vol.9 No.-

일본영화의 산업환경 분석

복환모 한국영화교육학회 1999 영화교육연구 Vol.1 No.-

일제강점기하 영화통제정책의 초기형성과정에 관한 고찰

복환모 ( Whan Mo Bok ) 한양대학교 현대영화연구소 2009 현대영화연구 Vol.5 No.1

The control on the films under the Imperialist Japan had been performed according to the code of restriction in severer condition than the other colonies such as Taiwan, Manchuria and so on across the production, distribution and promotion. The regulation like 「Regulation of Censorship on Motion Picture」 as an idea of regulating on the presentation of the foreign movie had been enforced in Chosun only out of Japan and its colony countries in order to prevent the anti-Japan emotion and the Western oriented mood in peoples of Chosun. The executional process of the restriction on movie by the Chosun Government-general had been performed in steps from the restriction on the promotional theater in each province in the initial period to the political exploits by the Code of Movie from the Chosun Government-general which was identical with Japanese Movie Law. The censoring on the movie had been performed in the name of public security and popular moral in the initial stage. Especially, the dark space of the permanent establishment theater, the porno scenes, criminal, matters of ideology had been the main focus of censoring and enforcement on the theater. There was no unified organization in the nation and hard and fast regulation in the execution of such thorough censoring on the movie by the Chosun Government-general. The person in charge at the police station had engaged in the control at the position of routine controlling on the movies. The promotional production means the entertainment activities such as play, movie, magic show, musical performance etc which were performed in theater and movie hall and the Japanese traditional plays for the Japanese resident in Chosun. Consequently, the restrictions executed on the movie theaters in each province was diversified because controls on the theater and movie was in line with the controlling of such various promotional productions without the unified regulation on the specific field. This research surveys the status of controlling on movies which was performed by the regions in the beginning and the unified control procedure on the movies nationwide by the Chosun Government-general through bibliographical data issued in Chosun and Japan at that time.

한국영화사 초기에 있어서 이토히로부미(伊藤博文)의 영화이용에 관한 연구

복환모(Bok Whan Mo) 한국영화학회 2006 영화연구 Vol.0 No.28

Ito Hirobumi, who took the leading part in the Japanese annexation of Korea, used movies to rule over Korea. He made Japanese productions produce movies introducing reality of Korea and Japan and show the movies in both countries. The purpose of making movies was to assimilate Koreans, and it was carried out through out the colonial period. It was the previous stage of the Chosun Government-general's movie policy to propagate and educate Koreans. Ito used movies because of two aims, in the colonial period. One was to form a positive public opinion of Japanese people by producing movies, which introduces the situation of Korea being under Japanese rule. The other one was to adapt Koreans to Japan by showing Japan's superiority. The movies, mainly made to Ito's order, were about a Korean Crown Prince who went to Japan to study. In the movies, made by the production of Yokotashoukai and Yosijawashouten, there are scenes of the Crown Prince's going over to Japan, daily life in Japan, and trip in Japan. They filmed them for two years from 1907 and opened them to the public and the Imperial family. They were on show at Changdeokgung where Emperor Sunjong dwelled and Deoksugung where Emperor Kojong, for the Imperial family. Not only the Imperial family but also the ministers and the noble families were present at the show of the films. They were also on show at public places, all over the country, such as student halls by women's societies and the Red Cross. The Imperial family and the mass of the people were apprehensive for the Crown Prince who was a hostage in the foreign country, even if he went there to study. Ito wanted to relieve people's concern by the movie of the Crown Prince in Tokyo. Moreover he made the Koreans feel friendly towards Japanese by showing the scenes that the Japanese Imperial family taking good care of the little Crown Prince of Korea. The movies of the Korean Crown Prince have no longer produced since Ito Hirobumi was killed by Ahn Jewngkeun in Harbin, Manchuria, in autumn of 1909. However Ito's movies influenced the movie policy of the Chosun Government-general.