• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.10 no.1
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• pp.23-31
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• 2015

The purpose of this study is to find the factors of the box office record in Korean popular music. For this purpose, 1.239 musics were selected in the Gaon digital weekly album chart from second week July 2013 to first week July 2014. The result can be summarized as follows: First, entertainment of music company, distribution of music company, singer, OST(Original Sound Track), television show, SNS and high ranking in the first week of its release are the factors of the box office record in Korean popular music. Second, entertainment of a large number of music production company is more effective than the others, but there is no difference in the case of distribution music company. Third, musics of singers who have large number of music ranked Gaon digital chart and appearance of television show program are effective in the box office record in Korean popular music. Fourth, SNS are great factors to promote Korean popular music. Fifth, it is important to rank high position in the first week of its release.

• Journal of Intelligence and Information Systems
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• v.24 no.4
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• pp.67-83
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• 2018

The Korean film industry with significant increase every year exceeded the number of cumulative audiences of 200 million people in 2013 finally. However, starting from 2015 the Korean film industry entered a period of low growth and experienced a negative growth after all in 2016. To overcome such difficulty, stakeholders like production company, distribution company, multiplex have attempted to maximize the market returns using strategies of predicting change of market and of responding to such market change immediately. Since a film is classified as one of experiential products, it is not easy to predict a box office record and the initial number of audiences before the film is released. And also, the number of audiences fluctuates with a variety of factors after the film is released. So, the production company and distribution company try to be guaranteed the number of screens at the opining time of a newly released by multiplex chains. However, the multiplex chains tend to open the screening schedule during only a week and then determine the number of screening of the forthcoming week based on the box office record and the evaluation of audiences. Many previous researches have conducted to deal with the prediction of box office records of films. In the early stage, the researches attempted to identify factors affecting the box office record. And nowadays, many studies have tried to apply various analytic techniques to the factors identified previously in order to improve the accuracy of prediction and to explain the effect of each factor instead of identifying new factors affecting the box office record. However, most of previous researches have limitations in that they used the total number of audiences from the opening to the end as a target variable, and this makes it difficult to predict and respond to the demand of market which changes dynamically. Therefore, the purpose of this study is to predict the weekly number of audiences of a newly released film so that the stakeholder can flexibly and elastically respond to the change of the number of audiences in the film. To that end, we considered the factors used in the previous studies affecting box office and developed new factors not used in previous studies such as the order of opening of movies, dynamics of sales. Along with the comprehensive factors, we used the machine learning method such as Random Forest, Multi Layer Perception, Support Vector Machine, and Naive Bays, to predict the number of cumulative visitors from the first week after a film release to the third week. At the point of the first and the second week, we predicted the cumulative number of visitors of the forthcoming week for a released film. And at the point of the third week, we predict the total number of visitors of the film. In addition, we predicted the total number of cumulative visitors also at the point of the both first week and second week using the same factors. As a result, we found the accuracy of predicting the number of visitors at the forthcoming week was higher than that of predicting the total number of them in all of three weeks, and also the accuracy of the Random Forest was the highest among the machine learning methods we used. This study has implications in that this study 1) considered various factors comprehensively which affect the box office record and merely addressed by other previous researches such as the weekly rating of audiences after release, the weekly rank of the film after release, and the weekly sales share after release, and 2) tried to predict and respond to the demand of market which changes dynamically by suggesting models which predicts the weekly number of audiences of newly released films so that the stakeholders can flexibly and elastically respond to the change of the number of audiences in the film.

• The Korean Journal of Applied Statistics
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• v.26 no.3
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• pp.441-452
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• 2013

This study analyzed the relationship between key film and a box office record success factors based on movies released in the first quarter of 2013 in Korea. An over-fitting problem can happen if there are too many explanatory variables inserted to regression model; in addition, there is a risk that the estimator is instable when there is multi-collinearity among the explanatory variables. For this reason, optimal variable selection based on high explanatory variables in box-office performance is of importance. Among the numerous ways to select variables, LASSO estimation applied by a generalized linear model has the smallest prediction error that can efficiently and quickly find variables with the highest explanatory power to box-office performance in order.

• The Journal of the Korea Contents Association
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• v.8 no.1
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• pp.386-397
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• 2008

The purpose of the study is to identify the characteristics of films to be exported into a larger market abroad, especially the Japanese film market which occupies more than a half of the export costs of the Korean movies. Our analysis shows that the factors such as the reputation of a director and actors in Japan, the box-office record in Korea and genres have influence upon the export to the Japanese market. Among genres, comedy movies were less exported, while melodramas was more. We expect that this result will be helpful when film producers plan movies for export from the stage of pre-production.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.193-203
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• 2019

Family films with insight of the society are now recognized as significant texts to communicate with audience from the beginning of the history of film and to reflect various viewpoints on changes of the times and socio-cultural context. In such aspect, the films of Hirokazu Kore-eda are very significant in that they suggest very sharp view on modern society through family narrative. His family narratives not only presented a profound reflection on the modern society and human relations through themes on death, loss, severance, and alienation, but also formed a public sympathy based on success in the box-office numbers despite his heavy subjects. His such achievement is closely related to the format of spatial representation to record 'time' and 'daily life' as well as the family film as a narrative form to draw the meaning of a family. Therefore, this study analyzes the family narrative and the format of spatial representation in the films of Hirokazu Kore-eda, and could find the film form where life and space closely communicate each other to reach the topic. This study, concentrating on the spatial representation and the roles and meanings of formal factors in family narrative, can find its own value in its expansion out of the previous studies which adopted macro perspectives on the trend of the times.