영화의 유통전략에 대한 연구: 심플렉스 해법을 중심으로

황희중 한국유통과학회 2016 유통과학연구 Vol.14 No.10

Purpose – High quality films are affected by both the production stage and various variables such as the size of the movie investment and marketing that changes consumers’ perceptions. Consumer preferences should be recognized first to ensure that the movie is successful. If a film is produced without pre-investigation and analysis of consumer demand and taste, the probability of success will be low. This study investigates the balance of production costs, marketing costs, and profits using game theory, suggesting an optimization strategy using the simplex method of linear programming. Research design, data, and methodology - Before the release of the movie, initial demand is assumed to be driven largely by marketing costs. In the next phase, demand is assumed to be driven purely by a movie’s production cost and quality, which might also further determine consumer demand. Thus, it is essential to determine how to distribute pure production costs and other costs (marketing) in a limited movie production budget. Moreover, it should be taken into account how to optimally distribute under the assumption that the audience and production company’s input resources are limited. This research simplifies the assumptions for large-scale and relatively small-scale movie investments and examines how movie distribution participant profits differ when each cost is invested differently. Results - When first movers or market leaders have to choose both quality and marketing, it has been proven that pursuing a strategy choosing only one is more likely than choosing both. In this situation, market leaders should maximize marketing costs under the premise that market leaders will not lag their quality behind the quality of second movers. Additionally, focusing on movie marketing that produces a quick effect while ceding creative activity to increase movie quality is a natural outcome in the movie distribution environment since a cooperative strategy between market competitors is not feasible. Conclusions – Government film development policy should ignore quality competition between movie production companies and focus on preventing marketing competition. If movie production companies focus on movie production quality improvement then a creative competition would ensue.

유통배급단계에서의 영화흥행예측

유병국(Byong-Kook Yoo),김순홍(Soon-Hong Kim) 한국물류학회 2023 물류학회지 Vol.33 No.1

대부분의 영화흥행 예측모형에는 영화제작, 관람객, 영화상영 등에 관한 다양한 변수들이 사용된다. 그러나 영화가 개봉된 유통배급단계에서 가장 중요한 변수중의 하나는 입소문의 진원지인 관람객과 관련된 영화리뷰라고 할 수 있다. 지금까지 다양한 변수들이 사용된 대부분의 예측모형에서는 영화리뷰가 감성변수로 치환되어 분석에 사용되었는데 이 경우 영화흥행에 대한 입소문의 내용 등을 구체적으로 파악하기 어렵다는 한계를 가진다고 할 수 있다. 본 논문에서는 온라인 포털 사이트의 영화리뷰를 구성하는 단어만을 영화흥행 예측모형의 독립변수로 하여 영화흥행실적과의 관계를 LASSO모형을 이용하여 파악하고자 하였다. 이를통해 영화리뷰가 영화흥행여부에 미치는 예측력을 평가하였으며 영화흥행에 영향을 미치는 영화리뷰상의 단어들을 조사하였다. 조사결과 단어들의 LASSO회귀계수는 영화흥행여부와 상관관계를 가지고 있었는데 흥행영화의 리뷰에 나오는 경향이 강한 단어일수록 계수 값이 증가하는 반면 비흥행영화의 리뷰에 나오는 경향이 강할수록 감소하는 관계를 보였다. 이와 같은 결과로 영화리뷰를 이용한 영화흥행예측은 세부적인 입소문 등 영화 유통배급단계에서의 추가적인 투자계획에 활용될 수 있다고 할 수 있다. Most movie box office predictive models use various variables related to movie production, audience, and movie screening. However, one of the most important variables in the distribution stage when a movie is released is the movie review related to the audience, that is the subject of word of mouth. In most predictive models in which various variables have been used so far, movie reviews have been substituted into emotional indices for additional analysis. In this case, it can be said that it has a limitation in that it is difficult to specifically grasp the contents of word of mouth about the movie. In this paper, only words constituting movie reviews on online portal sites were used as independent variables in the movie box office predictive model, and the relationship with movie box office performance was identified using the LASSO model. Through this, the predictive power of movie reviews on movie box office success was evaluated, and the words in movie reviews that affect movie box office were investigated. As a result of the analysis, the LASSO regression coefficients of words had a correlation with the success of the movies. The LASSO regression coefficients increased as the words appeared in reviews of successful movies, but decreased as they appeared in reviews of unsuccessful movies. As a result, it can be said that movie box office prediction using movie reviews can be helpful for planning additional investment strategy at the distribution stage.

Movie Popularity Classification Based on Support Vector Machine Combined with Social Network Analysis

Tserendulam Dorjmaa,Taeksoo Shin 한국IT서비스학회 2017 한국IT서비스학회지 Vol.16 No.3

The rapid growth of information technology and mobile service platforms, i.e., internet, google, and facebook, etc. has led the abundance of data. Due to this environment, the world is now facing a revolution in the process that data is searched, collected, stored, and shared. Abundance of data gives us several opportunities to knowledge discovery and data mining techniques. In recent years, data mining methods as a solution to discovery and extraction of available knowledge in database has been more popular in e-commerce service fields such as, in particular, movie recommendation. However, most of the classification approaches for predicting the movie popularity have used only several types of information of the movie such as actor, director, rating score, language and countries etc. In this study, we propose a classification-based support vector machine (SVM) model for predicting the movie popularity based on movie’s genre data and social network data. Social network analysis (SNA) is used for improving the classification accuracy. This study builds the movies’ network (one mode network) based on initial data which is a two mode network as user-to-movie network. For the proposed method we computed degree centrality, betweenness centrality, closeness centrality, and eigenvector centrality as centrality measures in movie’s network. Those four centrality values and movies’ genre data were used to classify the movie popularity in this study. The logistic regression, neural network, naïve Bayes classifier, and decision tree as benchmarking models for movie popularity classification were also used for comparison with the performance of our proposed model. To assess the classifier’s performance accuracy this study used MovieLens data as an open database. Our empirical results indicate that our proposed model with movie’s genre and centrality data has by approximately 0% higher accuracy than other classification models with only movie’s genre data. The implications of our results show that our proposed model can be used for improving movie popularity classification accuracy.

한・일 영화 타이틀의 네이밍에 관한 대조연구 -양국의 흥행작을 중심으로-

정성욱 중앙대학교 일본연구소 2015 日本 硏究 Vol.0 No.38

Language changes by the flow of time and culture enjoyed. The movie is the genre that can see the appearance changed from the first definition of society. This paper analyzed the title of Japanese movie and Korean movie by period, ranking, use of characters, form and syllables. Even if it is the work of the same times, there is a case that ranking is different. When it comes to the mark, it was used 359times in Korean and 409times in Japan. 'Kanji' was used more for a title in Korea, and 'Katakana' was used for a title in Japan. The frequency of the mark has increased by time in both Korea and Japan. As for a from, one form occupied more than half in Korea by between ranking and period. In Japan, one form increased by ranking. But, two more forms have increased by period. When it comes to a syllable, in Korea, the movie which of the syllable of the title is short tended to have high order. The number of syllables of the title of the movie in Japan was more than that of South Korea. A syllable was short, as for the title of the movie which was high in ranking. On the other hand, the number of syllables of the title of the movie which had low ranking was not constant. A title of 3 syllables is used most in Korean and a title of 7 syllables is used most in Japan by a period. The title of the movie is a thing to express the contents of the movie. To make it easily to remember and catch eye, the change was given to the use of characters of the title and the number of syllables. In conclusion, for success of film, it is better to use about four syllable for the title in Korea, and about ten syllables in Japan. Even though the form of titles have changed and would change by time, it is difficult to write the overall flow of movie only based on information by this investigation. But, the research about the use of characters and syllables of the title seems to be helpful for future's research task.

谷崎文学における影と光の表象 ─ 視覚的な肉体美の表出 ─

길미현 동북아시아문화학회 2009 동북아 문화연구 Vol.1 No.19

It was considered forcusing on “gold death” and “idiot's love” what kind of literary world you tried to express in writing through the longitude and latitude of the making and the movie of a movie of Tanizaki interested in the media which become the center of the time. Mr. male main character Okamura of “gold death” applies gold foil the form by “artificial paradise”, makes it the form of “arhat bodhisattva” and makes “demon ogre” act, but for human body and that also to embody female beauty in a male body I die. His death is a visual physical function, I concern the pleasant sensation to which I say “It's seen.” That's as a result of the pursuit of the beauty of “man with female beauty” Mr. Okamura is talking about. Mr. Okamura produced “of a body, perfect” aesthetic appreciation by the= masochism which “is seen”, and that came to “gold death” by an accident, I'll get a word. He tried to embody permanency of living beauty and infinity through Mr. Okamura's artificial heaven and mortality, but Tanizaki couldn't be sublimated. After that Tanizaki loads the various material in a film, produces a movie for embodiment of the world of eternal beauty of a visual physical function and finds female body beauty through a screen. Tanizaki borrows expressive form as a movie because a living female body is form-ized as an eternal lady in Western way. The desire by which he was touched by an American movie off, I tried to achieve the world through character Naomi of “idiot's love”. The technology by which it's photography that Kawai says a movie, as the means, the world, just like, I recognize that it's that I copy, record and become a symbol. He asks Western female body and “white” from her because Naomi's female body is symbol-ized. Naomi accepts Kawai's request and moreover behaves like a character of a movie naturally. A point-like symbol of a modern girl is born and gains the eternal female beauty by the sight by approach to Kawai's movie. It was considered forcusing on “gold death” and “idiot's love” what kind of literary world you tried to express in writing through the longitude and latitude of the making and the movie of a movie of Tanizaki interested in the media which become the center of the time. Mr. male main character Okamura of “gold death” applies gold foil the form by “artificial paradise”, makes it the form of “arhat bodhisattva” and makes “demon ogre” act, but for human body and that also to embody female beauty in a male body I die. His death is a visual physical function, I concern the pleasant sensation to which I say “It's seen.” That's as a result of the pursuit of the beauty of “man with female beauty” Mr. Okamura is talking about. Mr. Okamura produced “of a body, perfect” aesthetic appreciation by the= masochism which “is seen”, and that came to “gold death” by an accident, I'll get a word. He tried to embody permanency of living beauty and infinity through Mr. Okamura's artificial heaven and mortality, but Tanizaki couldn't be sublimated. After that Tanizaki loads the various material in a film, produces a movie for embodiment of the world of eternal beauty of a visual physical function and finds female body beauty through a screen. Tanizaki borrows expressive form as a movie because a living female body is form-ized as an eternal lady in Western way. The desire by which he was touched by an American movie off, I tried to achieve the world through character Naomi of “idiot's love”. The technology by which it's photography that Kawai says a movie, as the means, the world, just like, I recognize that it's that I copy, record and become a symbol. He asks Western female body and “white” from her because Naomi's female body is symbol-ized. Naomi accepts Kawai's request and moreover behaves like a character of a movie naturally. A point-like symbol of a modern girl is born and gains the eternal female beauty by the sight by approach to Kawai's movie.

특집논문 : 민족과 계급 사이의 영화비평, 그리고 아메리카니즘 -해방기 영화비평 연구

남기웅 ( Ki Woong Nam ) 한양대학교 현대영화연구소 2015 현대영화연구 Vol.11 No.3

일제가 패망한 1945년부터 한국 전쟁이 발발하는 1950년에 이르는 해방기 동안 제작된 영화는 다른 어떠한 예술 형식보다 그 시대를 읽어낼 수 있는 역사적 통찰을 가능케 해준다. 거대 자본을 필요로 하는 영화산업의 특성상 당시의 열악한 제작 환경으로 말미암아 해방기에 제작된 모든 영화들은 영화인들의 치열한 대립과 숙고의 산물일 수밖에 없었기 때문이다. 그리고 제작자들이 영화 제작을 통해 자신의 사상을 표출해나가는 동안 다른 한 쪽에서는 글로써 영화와 민족, 국가에 대한 자신의 견해를 표출하는 중대한 과정들이 진행 중이었다. 그러므로 본 논문은 그동안 상대적으로 덜 중요하게 다뤄졌던 해방기의 영화비평을 살펴봄으로써 해방기 영화와 사회에 대한 이해를 넓혀보고자 한다. 이데올로기의 대립과 건국이라는 상황 속에서 해방 공간의 한국인들에게 정치는 일상이었다. 그러므로 해방기 영화비평의 흐름 역시 당시의 정치적 상황 변화와 보조를 맞추어 나갔는데, 이는 크게 세 시기로 구분할 수 있다. 먼저 해방 직후부터 조선영화동맹이 좌익 중심으로 개편되는 1946년 8월까지의 시기가 첫 번째이다. 이 시기에 영화인들은 건국을 위해 영화가 무슨 역할을 해야 하는지 골몰하며 민족영화론과 영화 국영화론을 중심으로 비평을 전개했다. 그러므로 비평의 목적은 대립과 반목을 해소하고 화합과 통일을 이루는 데 있었다. 두 번째는 좌우익의 대립이 심화되며 우익 주도로 정부수립이 이루어지는 1948년 8월까지의 시기이다. 해방 정국이 헤게모니 다툼의 장이 되면서 영화비평은 강한 정치성을 띠게 되었다. 이 시기 영화비평은 종종 자신의 이념을 옹호하거나 상대 진영을 공격하는 정치 운동의 연장선상에서 진행되었다. 마지막 시기는 정부수립부터 1950년 6월 한국전쟁이 발발하기 전까지의 시기이다. 미군정의 지원 하에서 우파 민족주의 정부가 수립되었고, 아메리카니즘에 영향을 받아 ‘민족’과 ‘조국’의 정의와 이상도 수정되기 시작했다. 정부수립 전부터 비판 받았던 미국의 상업주의 영화들은 이제 새로운 ‘민족영화’를 위한 전범(典範)으로 평가되었다. 이렇듯 해방기의 영화비평은 당시의 정치적 상황과 맞물려 이루어졌으며, 광복이후 현재까지 계속적으로 나타나는 한국 영화의 성격을 규명하는 첫 번째 단초를 제공함은 물론, 치열한 정치 공론의 장이었던 해방기를 이해할 수 있는 매우 중요한 사료로서 의미 있는 것이다. This study is on movie criticism for Korean Liberation Period which was from 1945 to 1950. Basically, film industry needs huge capital. However, movies were made from poor production environment in Korean Liberation Period. Moreover, movie makers were intensely in conflict with themselves because of different ideologies. When movie makers expressed their ideology through making movies, movie critics also significantly tried to express their opinions on nation and movie. Based on this special political situation, this study will broaden the understanding of movie and society in Korean Liberation Period by investigating movie criticism which was considered less important in that period. Because Korea had ideological conflicts and was about to establish a country in this period, politics was daily life and daily life was politics to the Koreans. Also, movie criticism in Korean Liberation Period was influenced by political changes. This period is divided into three parts. First period is from right after Liberation Day in 1945 to August 1946 when Chosun Film Alliance was reorganized into the leftist force. In this period, critics concentrated on the role of the movie for establishing a country. Then, they developed criticism focusing on ‘Production of National Movie’ and ‘Nationalization of film industry’. In terms of theme on discourse, objective of criticism was to resolve ideological confrontations and reach unification. Second period is from September 1946 to August 1948. As ideological confrontations between the left and the right are getting intensified, government which the right force lead was established. Liberation political situation became the field where they fight for hegemony, so movie criticism became political. Criticism in this period was used for political movement. For example, it supported certain ideology or attacked other ideology. Last period is from the date of establishing government to June 1950 when Korean War occurred. Under U.S. Military Government`s support, right-wing nationalism government was established. With the affect of Americanism, the ideal of ‘Nation’ was also modified. Although American commercial movies had been criticized, after the government was established, they started to be evaluated as ‘Classic’ for new ‘National Movie’ in this period. In a conclusion, according to political situations in Korean Liberation Period, movie criticism was progress. Of course, it gives the first step to reveal characteristic of Korean Movie and it is meaningful as an important resource in order to understand Korean film from 1945 to 1950 which changes a lot politically.

Movie Popularity Classification Based on Support Vector Machine Combined with Social Network Analysis

Tserendulam Dorjmaa,Taeksoo Shin 한국경영학회 2015 한국경영학회 통합학술발표논문집 Vol.2015 No.08

The rapid growth of information technology and mobile service platforms, i.e., internet, google, and facebook, etc. has led the abundance of data. Due to this environment, the world is now facing a revolution in the process that data is searched, collected, stored, and shared. Abundance of data gives us several opportunities to knowledge discovery and data mining techniques. In recent years, data mining methods as a solution to discovery and extraction of available knowledge in database has been more popular in many fields such as movie recommendation of e-commerce service. However, most of classification approaches for predicting movie popularity have used only several types of information of the movie such as actor, director, rating score, language and countries etc. In this study, we propose a classification-based support vector machine (SVM) model for predicting the movie popularity based on movie’s genre data and social network data. Social network analysis (SNA) is used for improving the classification accuracy. This study builds the movies’ network (one mode network) based on initial data which is a two mode network as user-to-movie network. For the proposed method we computed degree centrality, betweenness centrality, closeness centrality, and eigenvector centrality as centrality measures in movie’s network. Those four centrality values and movies’ genre data were used to classify the movie popularity in this study. The logistic regression, neural network, naive Bayes classifier, and decision tree as benchmarking models for movie popularity classification were also used for comparison with the performance of our proposed model. To assess the classifier’s performance accuracy this study used MovieLens data as an open database. Our empirical results indicate that our proposed model has about 10% higher accuracy than other classification models. The implications of our results show that our proposed model could be used for improving movie popularity classification.

Expression of Fashion Illustration on the Costume of the Movie Genre

( Kyung Ae Kang ),( Eui Jung Lee ) 한국패션비즈니스학회 2005 패션 비즈니스 Vol.9 No.6

Targeting a film that is the medium of having powerful influence upon the masses, the present study examined about a role and characteristics in the movie costume, and a role of costume designers, which are shown in process of being changed the film costume. There are many designers who were in charge of the film costume, but the present study examined centering on designers who participated aiming to create the image of a character from the stage of manufacturing a movie. It presented and analyzed visual materials by dividing four genres such as a historical drama movie, a horror movie, a fantasy movie, and a modern-play movie, and by selecting a typical work. A Historical drama movie needs to be investigated costume by the historical background in a movie, but inside it was shown clothes that were elaborately reproduced and newly created. A horror movie plays a role of medium that reflects the human society and the internal mentality of a human being along with the attribute of entertainment. As a genre that requires much costume, make-up and special effect aiming at dramatic effect, a role of film costume possesses great weight. As a fantasy movie is a field based on ``fiction`` of a writer who creates a work, it is a field that requires creativity of a costume designer most. As a modern-play movie is what reproduces reality, it best reflects the phases of that time, and is the field that is influenced by costume or fashion trend. Costume needs to be designed in a bid to allow spectators to be inspired the wholly united and harmonious mood with leading a story of a movie, and the individual image.

영화 텍스트 읽기와 사회과 수업

박길자 ( Cil Ja Park ),이미식 ( Mi Shick Lee ) 한국사회과교육학회 2002 시민교육연구 Vol.34 No.2

On This days many of social teacher use the movie. Movie is staff of teaching mothed. But meaning of movie is difficult. Because of the contents of the movie and the meanings carried by their messages are primarily complex. And movie do tend to reproduce interpretations which serve the interests of the ruling class, but they are `also a field of ideological struggle. Movie signification system is seen as relatively autonomous. The movie also serve `to reinforce a consensual viewpoint by using public idioms and by claiming to voice public opinion`. We concern about movie reading. First we studies what is movie reading. Next we concern about how student and teacher make sense of media texts. And we studies movie and social education. The end of reading movie and social education is critized that movie is thus portrayed as that of renewing, amplifying and extending the existing predispositions that constitute the dominant culture, not in creating them.

중국 소비자의 영화 캐릭터제품 정품 구매의도에 관한 연구 -중국 및 해외 캐릭터제품 비교를 중심으로-

李 佳 忆,박상수,왕서혜,金 珉 娜 중국지역학회 2019 중국지역연구 Vol.6 No.1

In this study, the purpose of it is to understand the properties of the peripheral commodities of Chinese movies and foreign movies, as well as the properties of movies, and the consumers’ sensitivity to the peripheral commodities of movies, Chinese consumers’ propensity to consume and their intention to purchase authentic products around movies, so as to compare the peripheral commodities of foreign movies with that of Chinese movies. In addition, it also analyzes the properties of the merchandise around the movie, the movie attributes and the good feeling for character products in the movie, as well as causality between consumers’ propensity to consume and the willingness to purchase authentic movie products in this paper. As a result, it can provide the basic information of the development plan of the movie peripheral commodities for the Chinese movie industry, so as to make it more mature in the market of the movie peripheral products in China. The following is the main result. First of all, the visual originality of the commodity itself, the perception of pleasure in watching the movie and the glamour of the movie have a significant influence on the good feeling of the peripheral goods, whether it is peripheral commodity of domestic movie or the foreign movie. In modern society, Chinese consumers pay more attention to the satisfaction and happiness brought by the products around the movie. At present, many domestic publishers regard movie character products as promotional products, gifts and movie promotion tools, in which they have some misunderstandings about movie character products. Most of the movie character products developed in China lack originality or are printed with film elements, which thus have no value for collection. Therefore, Chinese manufacturers need to pay more attention to the originality of their products and the psychological needs of consumers when developing the products around the movie. Secondly, only the perceived risk of foreign movie peripheral goods has a moderating effect in the adjustment effect. It can be seen that Chinese consumers will have a tendency of conspicuous consumption when they buy foreign goods. Moreover, Chinese consumers don’t have a strong awareness for authentic or pirated goods at present. As a result, China’s domestic movie peripheral commodity manufacturers should strengthen the publicity of genuine products and purchasing channels. What’s more, the government should also strengthen copyright protection, which should establish relevant intellectual property rights systems, severely punish pirates, and enhance consumers’ awareness of copyright protection from legislation to law enforcement.