Earticle

Entering 21st century, “internet” has already become a word attracting the biggest attention over the world. .This is reflecting new characteristics of the era, and it means that we can share process and culture of the world’s industrial development in the same space in the back ground of internet. The newly rising term “internet plus” represents diverse types of industry combined with internet, and the existing industrial development through the internet has induced development strategies and policies with new characteristics. Utilizing internet platform and info-communication technology, “internet plus” is a strategy to create a new ecosystem for economic progress through integration of every industry with internet, and it represents a new paradigm of economic progress in China. Chinese cultural industry, which was emphasized from the year 2000, is continuing its rapid progress. This was possible through the interactive combination via internet platform, which implies that the culture plays the key role of economic & social progress in the era of internet plus. Especially, various fields of cultural industry such as film, animation, video games, cartoons, and travel are exercising major influence via internet on Chinese culture’s emerge into international market. Internet plus culture industry is an important measure to build a new growth engine for national economy by total confusion of service industries such as cultural, creative, and design services into real economy. In the process, leading enterprises in China will form industrial chain in cultural field through internet, make their own professional platforms to dominate and supply their outstanding contents resources, and continue their growth as more competitive enter prises. Furthermore, this will work as a major engine to encourage globalization of Chinese culture products.

This essay tries to define Korean Blockbuster in historical context. The Korean Blockbuster has been considered as translation of Hollywood blockbuster. It was born in the similar situation with the case of Hollywood blockbuster. In 90's, Jaebul's entering into the Film industry and the change of government's regulation changed the film making convention. With this change going on, the big budget film called Korean Blockbuster came out. The Korean Blockbuster has been considered as cultural industry. T. Adorno and Horkheimer called the big capital entering the cultural field as cultural industry. Cultural industry homogenizes the national culture and represents the ideology of the governing classes. The Korean Blockbuster is cultural industry like Hollywood Blockbuster for sure. It was born in the same situation as Hollywood Blockbuster, using same strategy. But, it has different position as national cinema. Many people consider the Korean Blockbuster as national cinema fighting against Hollywood cultural industry's dominance. So, the Korean Blockbuster has the contradictory position both of cultural industry and national cinema.

韩中两国关系日益紧密，两国已全面提升到“战略性合作伙伴”。两国间不仅是政府间交往，民间往来比 起以往任何时候都密切。继去年6月份朴槿惠总统访问中国之后，今年7月，中国国家主席习近平回访韩 国，两国间的关系得到升华，民间层面的交往也史无前例。韩国文化旅游教育部2013年的统计结果显 示，韩国人访问中国大陆游客的数量达4千万人次，超过了中国的访韩游客的283万人次。建交20多年 来，两国关系高速发展，其原因，政府所起的作用不可忽视，文化层面的交流，特别是“韩流”的作用不容 忽视。因此，“韩流”现象在两国文化界受到极大的关注。“韩流”在中国的影响已经有10多年之久，其中电 视剧、电影及k - pop等为韩流在中国的传播起到了巨大的推动作用。 韩国的文化产业受历届政府高度重视，早在60年代就有所提及。到金大中政府时期，将文化产业提升 为创造21世纪文化大国的高度，政府投入大量资金加以扶持。李明博政府在大选中把文化产业作为施政 纲要目标之一，“创造并实现文化强国”。朴槿惠在2013年2月总统就任典礼上，提倡“经济复兴、国民幸 福、文化兴盛”的3大施政基调。我们要从韩国政府对文化产业的政策中借鉴什么？

Literary world means a space that stages the main events in literary works or that embraces the inclinational aspects of the subject or imaginations. A clear recognition of such a literary space is the first step towards understanding the essentials of literary texts and newly expanding the main contents of industry of literary contents . This essay aspires to remark the processes in which literary works of Korea create a fresh celebrity with regards to the local society, and hence maximise the profits from substantiality and non-substantiality; and it will also consider the possible potentials associated here. Literary world, primarily, is the object of the author and their literary works, as well as the product. In that sense, celebritising literary worlds would be a work that is extremely significant in the processes of creating literary contents. Shower (Sonaki), the famous short novel by Hwang, Sun-won, for instance, is an exemplary work that shows and confirms the creation of Sonaki village, Hwang Sunwon literary community, Yangpyeong and its fruition. Shower has featured in middle-school textbooks for over 40 years since its publication in 1953, and has been consistently reproduced as plays, cartoons, musical, TV drama, film and animation and has recently become a good example of one-source, multi-use with the creation of the literary community in June 2009. Such Literary Centre or Literary Town formation now becomes the most important content of literary world s methodology of celebrated sites. There are over 46 Literary Centres constructed in Korea to date in July 2009, and the morphology varies area-wise, characteristically and business purpose-wise in type. Although amongst them there are successful cases such as Chuncheon Kim Yujung Literary Town or Pyungchang Lee Hyosuk Literary Centre, in many cases they are failing to familiarise the site due to the lacking points such as similar businesses, limited publicity and inattentive maintenance. A celebritising of the literary world that centres on the Literary Centre can achieve the expected aim only by overcoming the problems stated by the most local societies: the absence of professional approach to literature, insufficient cooperation with the relationship with the locals and limited management of contents. The centres such as Lee Byungju Literary Centre of Ha-dong, Kim Donglee Literary Centre of Kyungjoo and Midang Poetic Literary Centre have a huge probability of success regarding the writer s fame or the literary idiosyncrasy. Therefore, various contents development is required in order to live up to the literature.

Literature brings an isolation and a neglect upon itself looking away from the actual life. For this reason, people who have difficulties in finding purity of literature get used to consume faked literature disguised as a real one. Now, we have to aware of a cycle of production and demand of literary works. Therefore, fine works have to be produced continuously and these have to be enjoyed by people. For doing so, it is needed to manage the works as a form to be consumed by people easily. It means 'making literature to the cultural contents'. The literary work is dealt in mechanism and managed as 'literary contents' whether the writer wants or not, the work denies or not. Literature become more like literature and this literature should be granted as the most highest value in the world that money decides everything. The fine work can be a fine cultural contents, so a plan for local culture and local economy should be examined. Lee Moon-gu and Kim Ju-young, representative writers of Korean industrialization, are known for their novel with their each hometown. Their local government promote a construction of literary center and composition of literary theme town for increasing of value added of local society and praising their fame. Their works have raised and will raise their value of cultural contents winning many literary prizes, being best-seller, or being made to drama. The strategy of cultural industrialization of their works and the literary space should be planned with a construction of literary center and composition of literary theme town as a momentum. Especially we can plan an exploration course which is connected with Hwa-ahm auditorium, Moon-gu Lee's lecture hall and Cheongna reservoir focused on 'Galmuri', the Moon-gu Lee's hometown and setting of his main work 'Gwan-chon Essay'. Limiting to Boryung, it stands comparison with one-day literary exploration adding Seongju Temple which was temple in Baekjae dynasty. Could widen a range of vision to the neighbor city or the setting of his work 'The our hometown', Bal Ahn, Hwa-sung, GeongGi. Although a literary exploration intends to survey the space of literature, it could be effective to enjoy scenary and food in such as Dae-chon beach connected with sleeping accommodations and restaurants. On the other hand, the mud festival which is the most famous event in Boryung could be added in this course. In addition, we could prepare the course of exploration of the literary center and the writer's birth place connected with Galmuri, the house of Han Yong-un's birth and coming-literary center of Dong-youp Shin in Booyeo.

인터넷 시대에 접어들면서 디지털 문화 산업이 크게 발전하고 있으며, 창업 회사가 인터넷 시장이라는 레드 오 션에서 자리를 잡기 위한 혁신적인 비즈니스 모델은 많은 기업들이 직면한 중요한 도전과 기회이다. 본 연구는 가상 아이돌 하츠네 미쿠를 출발점으로 하여 기술 혁신, 가치 주장, 자원 조합, 경영 프로세스와 마케팅 모델 등을 분석한 다. 구체적으로 크립톤(Crypton) 회사의 1세대 소프트웨어 Meiko와 2세대 소프트웨어 하츠네 미쿠의 차이에 대한 비 교를 통해 비즈니스 모델의 구성 요소를 연구하고, 이를 통해 해당 비즈니스 모델의 특징과 장점을 탐구하며, 경영 모델과 창의적 부분에 대한 심층 분석으로 기타 전자 상품과 소프트웨어 개발 회사의 비즈니스 모델 구축에 실질적 인 참고를 제공하고자 한다.

In the Internet age, the digital cultural industry is booming，start-up companies want to win a place in the fiercely competitive red sea market of the Internet, innovative business models have become an important challenge and opportunity for countless companies. Taking the virtual idol "Hatsune Miku" as the example, the analysis is carried out at the levels of technological innovation, value proposition, resource combination, operation process and marketing model. By comparing the differences between the first-generation software Meiko of Crypton and the second-generation software "Hatsune Miku", we will study the components of the business model to explore the characteristics and advantages of this business model, and in-depth operation models and innovations. The analysis is expected to provide a substantial reference for other electronic product and software development companies in their business models.

디지털 시대의 새로운 사회가 다가오면서 역사의 지식과 IT기반지식을 공유하는 분야가 디지털콘텐츠에 관련된 학문이라고 생각된다. 21세기는 축적된 지식과 관련학문을 접목시켜 지식 기반사회에 필요한 내용을 창출해 내는 창조적인 지식문화 생산을 목표로 삼고 있다. 디지털 문화시대에는 수용자 특성에 따른 콘텐츠 발상은 매우 중요해 졌다. 특히 문화적 특성과 수용자특성에 맞는 콘텐츠를 개발하기 위해서는 콘텐츠 발상 프로세스의 필요성이 요구된다. 따라서 문화산업의 범위와 역할, 그리고 이를 수용할 수 있는 콘텐츠 수용자들의 기호에 맞게 콘텐츠를 개발할 수 있고, 표준화 작업이 가능하도록 하는 발상프로세스의 학문적인 연구를 하게 되었다. 본 연구는 문화의 원천소스를 문화산업으로 전환시킬 수 있도록 발상프로세스에 적용하여 자신이 만들고자 하는 원소스멀티유스(OSMU)의 콘텐츠를 효과적으로 개발할 수 있는 콘텐츠발상프로세스를 개발하는데 있다. 또한, 새로운 콘텐츠를 원하는 수용자의 패턴과 성향에 맞도록 개발하는 표준화를 찾아서 프로세스의 모형 틀에 적용할 수 있게 하는 것이 본연구의 내용이다.

With the advent of the digital era, the fields where historic knowledge and IT-based knowledge are shared seems to be related to digital contents. The 21st century aims at the production of originative knowledge cultures capable of creating necessary contents for the knowledge-based society by combining accumulated knowledge with the relevant sciences. Content creation taking into account the characteristics of users is more crucial in the digital era. Especially, to develop suitable contents for cultural features and consumer characteristics, the strategic processes of content creation are required. Thus, this study was attempted to investigate into such processes intended to develop and standardize appropriate contents for the range and roles of the culture industry, and the tastes of content users. This study aimed to develop content creation processes which enables to develop effectively desired One Source Multi-Use (OSMU) contents so that the source of culture can be converted into the culture industry, and additionally, to standardize such the processes appropriately for the traits and patterns of users desiring new contents so that they can be applied to the model framework.