1920~30년대 상하이 영화산업의 물적 토대와 특성 연구

박노종 부경대학교 인문사회과학연구소 2019 인문사회과학연구 Vol.20 No.2

in Shanghai has evolved in the 1920~30s. First, let’s look at the cultural foundation of how film industry could develop in Shanghai. Shanghai was a concession where foreigners had frequent access to and where Western civilization first arrived which led Shanghai to be the most developed city in China. Consequently, as Shanghai at that time became the driving force of film industry with uprising manpower leading to new culture and ingrown diverse cultural base for various media and actor’s schools. Next, a number of private film companies and advanced big-scale movie theaters were built to state the golden age of Shanghai film industry in the 1920~30s. During this time, films not only focused on the market value, but also highly on the duty and responsibility of producing local film. These ideological connection became the stepping stone for creating a relatively healthy film world. Movie slogans ‘Guopian國 片’and ‘Guochan國産’ reflects the left wing film movement in the 1930s. The success of private film companies is the biggest feature of Shanghai films. The struggle and voluntary effort to produce and distribute films became a good opportunity to develop the autonomy of film. Since the beginning of Shanghai film era, efforts steadily continued to portray “Chinese aesthetics” into the screen. Hollywood movies which dominated most theaters in Shanghai at that time helped diversify Chinese films and apply film techniques. The rich achievement and the success of film industry in Shanghai will work as a big experience and lesson to serve with the dispersion of Chinese films. 본고는 2・30년대 상하이에서 영화가 발전하게 된 원인을 외적인 환경과 내적인 동인을 통해 살펴보고자 하였다. 먼저 상하이에서 영화산업이 발전할 수 있었던 문화적 토대를 살펴보았다. 상하이는 일찍이 조계지로 외국인들의 출입이 잦았고 서구의 문명이 가장 먼저 도달한 곳으로 자연히 서구적 문화산업이 중국에서 가장 발달한 도시이다. 따라서 당시 상하이에는 새로운 문화를 주도하는 신진 문화 인력과 각종 미디어, 배우학교 등영화산업의 성장에 필요한 다양한 문화적 저변의 성숙되어 있어 영화산업을 이끄는 추동력이 되었다. 다음으로 1920~30년대에 상하이에는 숱한 민간영화사들이 출현하고 첨단시설을 갖춘 매머드 영화관이 설립되는 등 상하이영화의 전성시대를 구가하였다. 그러나 이시기의 영화는 시장적 가치에만 매몰되지 않고, 자국 영화제작에 대한 의무감과 책임의식도무척 높았다. 이러한 당시의 사상적 조류는 비교적 건강한 영화계의 풍토를 조성하는 밑걸음이 되었다. 1920년대 등장한 ‘국편(國片)’, ‘국산(國産)’영화 슬로건과 1930년대의‘좌익(左翼)’영화운동이 이를 잘 반영하고 있다. 그리고 상하이영화의 큰 특징으로는 민간기업의 영화사들이 흥기한 점이다. 자발적인 노력으로 제작과 배급을 위해 고군분투한 점은 궁극적으로 영화의 자율성을 키워나가는 좋은 경험이 되었다. 상하이영화가 초기부터 영화의 ‘중국적 미학’을 스크린에 옮기려는 노력은 부단히 계속되었다. 당시 상하이의 대부분 극장을 장악한 할리우드 영화는 긍정적인 측면에서 중국영화의 다양화와 영화기술과 기법을 응용하는데 도움이 되었다. 그리고 상하이영화가 이룩한 영화산업의 흥성은 중국영화의 전도를 밝히는 소중한경험과 교훈으로 작용할 것이다.

영화 음악의 음악 교육적 가치와 활용

박진홍 한국음악교육공학회 2010 음악교육공학 Vol.- No.10

Film is one of the most popular part of the arts that the moderns have enjoyed. Film industries have developed and film music also has developed quantitatively and qualitively. These day, some teachers use film music when dealing with music or musical episode in music study and some people study about that. However, these studies have focused on classical music and the means for induction of interest on learning. So, I studied what the value of film music for music education is, and how to use film music for music instruction. The following are the values of film music for music instruction. First, film music is the effective material for induction of interest in learning. Second, film music is organized by various music. Students can experience various world music through films. Third, film music contains the contextual means, history, politics, economy, culture, and so on. Forth, film and music is the means from which students can think about music and life. We must apply film and film music not only as an induction for a starting instruction but also in various ways and angles. Also, music instruction through film and film music must have interaction and communication. The film's music or the music's film have context. When we apply various context in the film integratively, music instruction through the film's music is significant. Change and Development of music instruction through the film need alteration of an angle. I believe that films are one of the most effective materials for music instruction. So, I wish that many teachers and scholars study about applications of the film's music. 영화는 현대인의 삶과 밀접한 관계를 가지고 있으며 영화 음악은 영화의 중요한 부분 중 하나이다. 최근 음악 수업에 영화 음악을 활용하는 사례나 연구가 증가하고 있다. 영화 음악이 보다 효과적인 학습 자료가 되기 위해서는 영화 음악이 가지는 교육적 효과와 활용 방법에 대해 살펴볼 필요가 있다. 영화 음악은 음악 수업에 임하는 학생들에게 효과적인 흥미유발 자료이며, 다양한 장르의 음악을 경험할 수 있는 자료이다. 또한, 음악에 대한 맥락적 접근을 유도하는 자료이며 음악에 대한 다양한 사고를 유발하는 자료이다. 이러한 영화 음악의 음악 교육적 기대효과를 성취하기 위해서는 다양한 장르의 음악을 활용, 영화 속에서 음악의 기능에 대한 접근, 음악과 삶에 대한 통찰, 맥락적 지식의 활용, 활동 중심으로 활발한 상호작용을 유도하는 등의 활용이 이루어져야 한다.

영화발전기금의 현황과 재원조성 방안

김현희 한국콘텐츠학회 2019 한국콘텐츠학회논문지 Vol.19 No.9

영화발전기금은 2007년에 영화예술의 질적 향상과 한국영화 및 비디오물산업의 진흥과 발전을 위하여 설치되었다. 영화진흥위원회가 운용하는 핵심자원으로써 한국영화 창작·제작 진흥 관련 지원, 영상전문투자조합 출자, 한국영화의 수출 및 국제교류 지원, 소형영화와 단편영화의 제작지원 등 다양한 지원 사업을 한다. 본 연구는 고갈 위기에 있는 영화발전기금의 재원 조성 방안을 모색하고자 한다. 이를 위해 영화발전기금의 실태와 문제점을 살펴보고 문헌연구와 관련 논의들을 검토했다. 영화진흥을 위한 해외 유사기관인 프랑스 국립영화/동영상센터, CNC(Centre National du Cinéma et de l’image animée), 영국 영국영화협회 BFI(British Film Institute)의 정책과 기금의 재원 확보 및 운용을 비교 검토함으로써 영화발전기금의 재원 확충을 위한 다각적 방안을 도출하였다. The Film Development Fund was established in 2007 to improve the quality of film arts and promote the Korean film and video industry. As a key resource operated by the Korean Film Council, the film development fund provides various projects including support for the promotion of Korean film creation and production, funding in video-specialized investment associations, export and international exchanges of Korean films, and production of small-scale or short films. This study aims to propose ways to reinvent the film development fund, which is in danger of being depleted. Based on such purpose this study examined the status and problems of the current film development fund and reviewed previous literatures and related discussions. Furthermore, the policies of similar overseas organizations for film promotion including French National Film/Video Center (Centre National du Cinema et de l'image annimée,CNC) and the British Film Institute (BFI) were reviewed to draw a multi-faceted way to replenish the source of revenue for Korean film development fund.

무용필름의 시공간 분석을 통한 정체성 연구

고현정 ( Hyeon Jeong Go ) 한국무용교육학회 2014 韓國舞踊敎育學會誌 Vol.25 No.1

Generally speaking, dance is relevant to and compatible with film as both genres are composed of based on action and movement. However, dance field seems to neglect film device because it loses transience and a delicate sense of human of mounting tension with risks, which are known as important characteristics of live dance performance, through the television apparatus. Therefore, this research interrogates on combining dance and film to explore whether the perspective on realism of film emphasising dance`s ``real`` to project dance`s ``reality`` is crucial issue or there is more than that on fused dance film perspective. The purpose of this research is to provide dance field an another platform that can be the trigger to create a new experimental work and establish the identity of dance film through understanding their differences by analysing how combining dance with film can expand human experience of perception, and how it transcends the logical perspective on the dancer`s body within space and time. Therefore, this research discusses firstly, realism based on semiologic perspective to argue that if the absence of dance`s characteristic of transience makes dance film moot points or a potential choreographic place. Secondly, it analyses modified ontological foundation to the dancer`s body through various perspective on time in dance film. Thirdly, it explores the dancer`s enhanced multiple space which is experienced through unique television apparatus. In conclusion, it is explored below, Firstly, the role of camera in dance field is now beyond recording dance as archival work, it absorbs an experimental arts work that integrates with the dancer`s body intimately. Therefore, the dancer`s body in screen is able to expand, reduct and divagate from material limits in real life. This extraordinary body in dance film refuses the convention such as the dancer`s ability, which is only able to be seen on that moment of the performance, but rather it transcends. This is the enhanced screenised dancer`s body and surpasses space-time in the real world. Secondly, screen apparatus challenges the perspective of existing logical space-time through unique way of dance film and it gives some shapes that can never be seen in a live performance. Thirdly, dance film must have validity of its own rather than a subordinate concept of dance as it provides a flexible perception that the dancer`s body is no longer exists only conventional regulation but it has more to be explored in dance film to give an opportunity to create new dance work. Finally, screen apparatus is able to adjust dancer`s movement and effect on choreographer`s choice through its filmic technique and therefore, wide spectrums of multiple space-time in dance film can enhance the dancer`s epidemiological movement as a flexible medium, and have implication for the multilateral relationship between practical choreography and audiences.

문화다양성의 측면에서 본 한국영화 아카이빙의 현안

남인영(Nam In Young) 한국영화학회 2006 영화연구 Vol.0 No.29

This study is an attempt to explore one of the neglected fields in the Korean film academia: the role of archiving in the pursuit of cultural diversity in film. Film archiving activities in Korea have grown rapidly since the early 2000's when Korean film industry reached its peak and various cultural approaches to the cinema were advanced by film festivals, film clubs, and art-house cinema advocacies. We have been observing some significant positions paying attention to film archiving in Korea since. firstly, Films should be considered as not only private asset but also cultural heritage belonging to the public. The film production itself is owed to a culture as collective imagination and is appreciated by the public. Secondly, Film archiving is a platform to achieve and maintain cultural diversity by preserving and circulating films produced from different cultures and politics. Thirdly, the position to see the film as public resources does not confront the industrial interest from the broader perspective. Forth, film archive is an important medium to contribute to the informative democracy. There have been several institutions and organization conducting film archiving and related activities in Korea. Korean Film Archive (KOFA) is the only institution whose status is protected by the law. KOFA is also financed by the governmental fund. It is from 2002 that KOFA has transformed its organization into more accessible and professional one with a new management mind as "the public servant." The critical difference KOFA made by way of this renovation and reform is to make efforts on the public access and the scholarship on the Korean film history and archiving inside of the organization. Another key role of film archiving in Korea was performed by film clubs or cinematheques located nationwide. Korean Cinematheque Association, consisting of fourteen clubs from different regions, have been running screening programs of classic cinemas as well as film education workshops. In spite of the progress of film archiving in recent Korea, there are several aspects to speculate about in order to make the film archives and cinematheques to play certain role in achieving and maintain cultural diversity in film, firstly, film acquisition and selection should include independent films with non-theatrical release, which is not enforced by the law. Secondly, digital archiving technology is on its way and needs more researches on and development of standard format, related copy-right laws, and so on. Thirdly, public access is currently limited to Seoul metropolitan area. To overcome this limitation is critical to make the film archive which is financed by national taxes play a role in the public reception of the films from different histories, cultures, and politics. Fourth, specialized studies and specialist training on film archiving should be initiated and supported in order to respond to the changing conditions technical as well as political. Finally, considering the colonial history of Korean cinema, Korean film archiving needs to be connected with other Asian region through which the lost track of Korean cinema will possibly be discovered and re-defined.

중국 영화제 브랜드 로고에 대한 기호학적 분석

조선,정원준 한국일러스아트학회 2021 조형미디어학 Vol.24 No.3

The history of Chinese film festival development began in 1992 and continues to this day. Film festivals have a wide and profound impact on the development of the film industry, the number of film festivals is increasing year by year, and genres are constantly being subdivided. Under today's visual and cultural background, the festival needs a distinctive and vivid brand image that can convey its core ideology to the public, and the film festival's brand logo is an icon that spreads it, featuring shape, intuition, and accuracy. Among the film festival brand image designs, this paper interpreted the logo of the mainland Chinese film festival from a semiotic point of view, systematically analyzing the semantic system between the logo and the brand image. First, to analyze the poster of the film festival, Roland Barthes's external and internal design system was used as the framework for selecting 10 major Chinese film festivals, including the Shanghai International Film Festival and the Beijing International Film Festival, and conducted a semiotic analysis on the logo. As a result, the film festival's brand logo could be categorized into three main types: 1) a logo symbolizing the abstract concept embedded in the film festival's brand culture, 2) a letter representing the film's brand name, and 3) a symbol logo representing film elements. To intuitively explain the implications of each logo, the visual elements of the logo design of China's film festivals were interpreted specifically by comparing specific images based on the external capabilities of the first story. The logo is an important window for the film festival's brand identity, brand spirit, and brand image. Only when the brand image propagation and dissemination strategy are clarified on the basis of the correct positioning of the film festival brand will it be possible to creatively design the film's brand logo with clear features and core competitiveness. This paper seeks the possibility of a highly efficient strategy for film festival logo design and expects to contribute to laying the foundation for research and implementation of brand image design by other film festivals in the future. 중국 영화제 발전의 역사는 1992년 시작되어 오늘날에 이르고 있다. 영화제는 영화산업의 발전에 광범위하고 심대한 영향을 미치며, 해가 갈수록 영화제의 수가 늘어나고 있고, 장르 역시 끊임없이 세분화되고 있다. 오늘날 시각문화적 배경 하에서 영화제는 그 핵심이념을 대중들에게 전달할 수 있는 특색있고 선명한 브랜드이미지를 필요로 하며, 영화제 브랜드 로고는 이를 전파하는 아이콘으로 형상성, 직관성, 정확성을 특징으로 하고 있다. 본 논문은 영화제 브랜드 이미지 디자인 중에서도 로고 디자인을 중심 논점으로 삼아 기호학적 관점에서 중국 본토 영화제 브랜드의 로고를 해석하여 로고와 브랜드 이미지 사이의 의미 체계를 체계적으로 분석하였다. 먼저 영화제 포스터의 분석을 위해 롤랑 바르트의 외연/내포 기호체계를 분석틀로 삼아 상하이국제영화제, 베이징국제영화제 등 10개의 중국의 대표적 영화제를 선정하여 그 로고에 대해 기호학적 분석을 진행하였다. 그 결과 중국 각지 영화제 브랜드로고는 크게 세 가지 유형, 즉, 1) 영화제 브랜드 문화에 내포된 추상적인 컨셉을 상징하는 로고, 2) 영화제 브랜드 명칭을 나타내는 문자, 3) 영화 요소를 나타내는 기호 로고로 분류할 수 있었다. 또한 각 로고들의 함의를 직관적으로 설명하기 위해 위의 분석 모델 중 제1층차의 외연의 능기에 근거해 구체적인 기호의 특정 이미지를 대조하여 중국 각지 영화제 로고 디자인의 시각적 요소들을 구체적으로 해석하였다. 로고는 영화제의 브랜드 아이덴티티, 브랜드 정신, 브랜드이미지 등을 표출하는 중요한 창구이다. 영화제 브랜드의 정확한 포지셔닝의 기초 위에서 브랜드이미지 전파와 보급 전략을 명확히 할 때만이 비로소 분명한 특징과 핵심 경쟁력을 갖춘 영화제 브랜드로고를 창조적으로 디자인할 수 있을 것이다. 본 논문은 영화제 로고 디자인의 고효율적 전략의 가능성을 모색하고, 향후 다른 영화제들의 브랜드이미지 디자인에 대한 연구와 실행을 위한 토대를 마련하는 데 일정 정도 기여하기를 기대하는 바이다.

中国电影排片垄断现状和反垄断对策—基于韩国电影反垄断体系研究

李丹阳,张圣甲,马廷巍 부산대학교 중국연구소 2022 Journal of China Studies Vol.25 No.2

With the flourishing development of Chinese film industry, the output and quality of Chinese films have been continuously improved, and the theater chain system has become the main body of the distribution and projection of Chinese films. As theater chain enterprises enter the production industry, and the production companies start to invest in theater chain as well, the vertical integration of Chinese film industry has gradually become the development tendency. The cinemas of Chinese six theater chains account for 41% of the total, with the number of screens accounting for 44.2% of the total. Giants of Chinese six theater chains have gradually infiltrated their influence into the production and distribution of films by relying on their advantageous position. In addition, they also intensified the cooperation with the producers to continuously arrange their films in their own cinemas in large quantities, which, to a certain extent, has excluded the release rate of the films produced by other small enterprises, thus resulting in the film schedule monopoly in Chinese film industry. Besides, related words, such as “Film Schedule Monopoly” and “Illogical Schedule”, begun to appear in Chinese film market. Furthermore, film directors, experts and scholars also begun to talk frequently in major media against the unfair events of film schedule monopoly. The film industry, which is a part of cultural industry, is of great importance to national economy. With regard to film industry, only fair, equal and free market competition environment can ensure the prosperity and development of Chinese film industry. While, the film schedule monopoly in Chinese film industry violates the principle of fair competition, which impedes the development of this industry. Currently, no comprehensive studies on the film schedule monopoly in Chinese film have been conducted yet by Chinese scholars and government agencies. In addition, there is no clear regulations and boundaries for film schedule monopoly in China, which still remains to be researched. In view of this, I have a strong interest in film schedule monopoly in China. The vertical industry chain of film of CJ, CGV and Lotte, three major film companies in Korea, has become mature. However, every coin has two sides. They also exposed the problem on film schedule monopoly for blockbuster films. It is worth mentioning that in 2006, the schedule monopoly of “The Host”, a Korean film, aroused great controversy once again. Under the circumstances, Korean government and the Film Revitalization Committee issued a series of policies to prevent the film schedule monopoly. Moreover, experts and scholars also began to conduct comprehensives research on this phenomenon, and achieved certain accomplishments. Therefore, based on the research on the anti-monopoly system of film in Korean, relied on “Law on Revitalization of Film and Video Images”, combined with national conditions and the current situation of film schedule monopoly in China, the policy on anti-monopoly system applicable in China will be explored in this thesis. Through the study on film industry in Korean and the analysis on the actual situation of film schedule monopoly in China, it is believed that the following measures can be taken to solve the problem of film schedule monopoly in China, including the establishment of an anti-monopoly system of film industry, the improvement by the monthly system of Chinese domestic film protection, as well as the setting of compound cinemas and special art film museums. In conclusion, improving the film schedule monopoly in China and maintaining a fair and equal market competition environment for film industry can not only provide more opportunities for the art films and independent films, but also offer the audiences the rights to choose films, so as to promote the flourishing and positive development of Chinese film industry.

스크린 독과점 해소를 위한 영화산업 규제체계의 모색 - 프랑스 모델을 중심으로 -

김윤정 한국경쟁법학회 2019 競爭法硏究 Vol.39 No.-

Recently, in the Korean film industry, there is a problem of screen monopoly that the films distributed by large distributors or by theaters-affiliated distributors occupy most of the screens and deprive consumers of the choice of films. When looking at the film industry as the cultural industry, a screen monopoly is a serious problem because it hinders the possibility that various films made by small and medium producers are blocked. In addition, a screen monopoly is also a problem in terms of competition law when theaters in monopolistic status often discriminate in favor of their own specific films supplied by their affiliated distributors. Since 2011, the film industry-related businesses have signed a Voluntary Restraint Arrangement to deal with a screen monopoly, but it has the limitation that it is unenforceable. In addition, the Fair Trade Commission (FTC) imposed fines on the screen monopoly caused by discriminating in favor of their own films in 2015 due to discriminatory treatment under the Monopoly Regulation and Fair Trade Act. However, the Seoul High Court and the Supreme Court judged that the demand forecast among film theaters are so different that their favorable treatment is not an unfair practice under the Monopoly Regulation and Fair Trade Act. However, in the film industry, new demands can be created as a result of allocating many screens to certain films. Therefore, in order to regulate a screen monopoly and protect film diversity, it is necessary to grant the film industry the regulated industry status, and allow industry-specific regulations that replace the market function to realize the public interest. In particular, by referring to the regulation system of the French Film & Animation Code which recognizes films as a "public service", it needs to adopt a regulation to limit the rate of simultaneous screening of a same film in the system of 「Act on Promotion of the Motion Pictures and Video Products」and adopt a method to make a voluntary regulation arrangement enforceable.

"The Hidden Melody" - Analysis of the Picture Composition of the Movie

Jing-Feng Tan(감경봉) 한국엔터테인먼트산업학회 2017 한국엔터테인먼트산업학회논문지 Vol.11 No.6

영화 화면은 영사막의 네모난 틀에 한정된다. 그러므로 영화화면은 그림틀과 비슷한 점이 있다. 화면은 물상을 어디에 놓으면 감독님의 의도를 잘 표현할 수 있다. 이런 문제가 바로 화면은 어떻게 구성한 문제이다. 감독님은 장면을 조정하고 미공사는 장면을 어떻게 설계하는 문제도 있다. 아무 평면 유한한 공간에 이미지 설계를 진행하는 것은 모두 그림예술이다. 영화는 조형 예술이고 삼차원 공간이 여기에 충분히 표현할 수 있다. 동시에 이차원 형식에 표현력을 가지고 있다. 구도는 영화화면의 형식 언어 중에서 하나이다. 영화 미술에서 뛰어난 화면 구도 설계가 영화의 심미 가치와 예술 가치를 표현하기가 아주 중요한 역할을 가진다. 관중들이 영화를 감상할 때 첫 번째 느낀 것은 영화의 시각 원소이다. 영화 구도는 먼저 관중들에게 아주 독특한 심미적인 체험을 주어야 한 다음에 시각적인 미감을 나타낼 수 있다. 그리고 영화구도는 영화 미술가의 독특한 예술 개성을 놓아야 한다. 이렇게 한다면 남다른 영화를 제작할 수 있는 중요한 원인이다. 마지막, 구도는 전체 영화 작품을 중심으로 설계해야 하고 줄거리를 발전시키고 영화의 주지를 표현할 수 있도록 한다. The image of cinema description is limited within the frame of the screen; this constitutes the similarities between cinema description and picture frame. In other words, there is a problem about cinema description as to how to place image at a position that could express the director"s intention most appropriately - the composition of cinema description, or how directors do the mise-en-scine and how art designers design the scene. Any art that involves image-building in a flat and limited space can be regarded as painting art. Film is a plastic art, in which three-dimensional space can be fully demonstrated; but, it also has expressive force in two-dimensional form. Composition is also the most important form of formal language in cinema description. With respect to fine art in film, excellent composition is extremely important for the realization of the film"s aesthetic value and artistic value. When watching a movie, the audiences first come into contact with visual elements. Film composition need to bring a unique aesthetic experience to audiences, reflecting its visual beauty. Moreover, the unique artistic personality of film artist ought to be integrated into film composition, which is the key to make a film different. Finally, the overall film should be at the core of composition design, only in this way can it promote the development of the story and reveal and elaborate the film"s subject.

필름코팅 소재들이 배추 종자의 발아 및 활력에 미치는 영향

강점순,김현도,이정은,제병일,이용재,박영훈,최영환 한국환경과학회 2021 한국환경과학회지 Vol.30 No.12

The purpose of this study was to identify for extenders, adhesives, colorants, and fungicides suitable for the production of high-quality film-coated seeds of Chinese cabbage. In addition, the effect of various additives used for film coating on the germination of coated seeds and seedling vigor was investigated to establish appropriate treatment conditions for film coating efficiency. The germination rate and germination speed in Chinese cabbage film-coated seeds did not differ significantly depending on the type and concentration of the extender, while the use of Talc resulted in superior granulation capacity and adhesion of the seed coat in comparison to Zeolite. There was no significant difference in the germination rate depending on the type of adhesive used for film coating of Chinese cabbage seeds, but the germination rate was slightly slower in the film-coated seeds using carboxymethyl cellulose as an adhesive. On the other hand, the seeds coated with a film using 1% PVA as an adhesive not only maintained hardness enough to withstand external pressure, but also showed a high germination rate. In addition, the suitable disinfectant for film coating was venoram, and the treatment concentration was good at 250 mg·L-1. The type of colorant used in the film-coated seeds of Chinese cabbage did not significantly affect the germination rate, germination speed, and seedling vigor. The seeds film-coated using the liquid colorant were superior in appearance to the seeds film-coated with the solid colorant, which implies the possibility of reduction in the manufacturing costs by using the water-soluble paints as colorants for film-coated seeds.