창조영역과 콘텐츠산업의 시너지 효과분석: 세부산업별·지역별 비교를 중심으로

전종섭(Chun, Jong Sub),허식(Heo, Shik) 한국문화산업학회 2021 문화산업연구 Vol.21 No.4

문화산업의 기반이 되는 창조영역의 역할을 이해하는 것은 문화산업의 지속가능한 발전과 나아가 이를 통한 경제 활성화 정책에서 필수적이다. 그럼에도 이에 대한 실증적 연구는 미미하며, 문화산업의 세부적인 장르에 제약되었다는 한계를 가진다. 본 연구에서는 문화산업의 발전과정에서 시너제틱스 이론과 CCD (coupling coordination degree)모형을 기반한 창조영역과 콘텐츠산업의 시너지를 확인함으로써 창조영역의 역할을 제시하고자 한다. 본 연구에서는 통계청 「서비스업 조사」 2007년에서 2019년도 자료를 활용하였으며 문화산업의 지역별 자료를 구축하였다. Throsby의 동심원모형에 기반하여, 예술인력과 문화시설을 ‘창조영역’으로, 영화·인쇄·방송·음반·게임산업을 "콘텐츠산업"으로 구분하였다. 이에 대한 분석 결과는 다음과 같다. 첫째, 창조영역과 콘텐츠산업의 시너지 효과는 낮은 수준으로 나타났으나 점차 상승하는 추세를 보였다. 이는 시너지를 통한 문화산업의 발전이 발생하고 있으나 아직 미약한 단계임을 의미한다. 둘째, 창조영역과 콘텐츠산업의 시너지 효과는 서울·경기에만 높게 나타났다. 이는 문화산업이 대도시 중심의 발전이 이루어지는 현상을 반영하며, 지역 간 격차를 줄이기 위한 노력의 필요성이 제기된다. 셋째, 콘텐츠산업의 세부영역별 시너지 효과는 다르게 나타났다. 영화·게임산업과 창조영역의 시너지는 관찰된 기간에 급격한 시너지의 상승이 나타났으며, 출판산업과 창조영역의 시너지 효과는 다소 완만한 성장이 관찰되었다. 마지막으로, 지역·영역별 시너지 효과는 다르게 관찰되었다. 이는 지역별 문화산업이 다른 방식의 시너지가 발생하고 있음을 의미한다. 결과적으로 우리의 연구는 창조영역과 콘텐츠산업의 시너지를 통해 문화산업이 발전하고 있음을 확인한다. 그러나 지적된 문제들을 해결하기 위하여 지역 간 문화적 교류의 활성화, 지역 기반의 문화산업 특성화, 문화산업 간의 연계강화 등의 노력은 지속되어야 하겠다. Recognizing the role of creative sectors in the cultural industry is essential for the sustainable development of the cultural industry and the effective policy decision of economic revitalization. However, empirical research supporting this proposition is scarce and is limited to a specific genre. Based on the synergetics theory and CCD (coupling coordination degree) model, this study verifies synergy effects between the creative sectors and the content industry. For the analysis, we establish a data set for local cultural industries, using the “Service Industry Survey” data from 2007 to 2019. Under the Throsby’s concentric circle model, while pure artists and cultural institutions are classified into ‘creative areas’, the film industry, printing industry, broadcasting industry, sound industry, and game industry are classified into "content industry". Our results are summarized as follows. First, the synergy effect between the creative sectors and the content industry is low levels, but it shows a gradually increasing trend. This means that the cultural development through synergies is still in a weak stage but is increasing. Second, the synergy effect with the creative sectors is high only in Seoul and Gyeonggi. This reflects the phenomenon that the cultural industry is developing in centered on principal cities, and the government need for efforts to narrow the gap between regions is raising. Third, the synergy effect with the creative sectors seems different from each detailed parts in the content industry. The synergy effect between the film & game industries and the creative sectors shows a sharp increase during the observed period, and the synergy effect between the publishing industry and the creative sectors is observed to grow somewhat slowly. Finally, the regional synergy effects are observed differently by regional areas. Our results suggest that, since the cultural industry is developing through synergies between sub-industries, our efforts are still needed such as promoting cultural exchanges between the capital cities and regions, creating cultural marketing strategies reflecting the intrinsic characteristics of each region, and strengthening links among sub-sectors of the cultural industry.

창조경제를 위한 문화콘텐츠 진흥에 관한 연구 - 문화 콘텐츠 산업정책 발전경로와 거버넌스 협력체계 구축을 중심으로 -

유영철,김혜정,김주경 한국거버넌스학회 2015 한국거버넌스학회보 Vol.22 No.1

Creative economy refers to economic activity of creating jobs and boosting wealth by incorporating imagination, knowledge, and information into the overall industry. Creative industry means continuous generation of output produced in the process of or as a result of creative economic activity where the culture industry forms the core. The cultural contents generate not only economic value, but also socio-cultural meaning, identity, and value, by delivering the products and services coming from the combination of imagination, sensibility, artistic value, and view of values based on human creativity through media. The contents industry can be classified into broadcasting & image, games, movies, music, animation (cartoon), and publishing industry by genre. According to conceptual definition, cultural contents industry can be said to be at the core of creative economy. Efforts to foster the cultural contents have been fierce globally. From the leading countries of creative economy, i.e., England, the United States, and Germany to the neighboring Japan, diverse policies promoting cultural contents industry in the creative economy have been made where the governance cooperation was structuralized for the implementation of such policies. The United States promoted market competition by locating multiple independent institutes in entertainment industry while focusing on tax policy. England implemented policies that keep a distance from private sector such as Arm's Length Policy and installed a governance cooperation called Ofcom to manage the policies. Japan has recently been promoting Cool Japan Policy aiming at the global growth of Japanese cultural contents, but its performance is not visible as of now. Nevertheless, while the policies are dispersed over multiple departments, the redundancy between related organizations and transfer of business were minimized through the policy. Germany, which has traditionally prepared specific policies at state government level, is reinforcing the power of central government. For example, social insurance policy, Concept 2000 Policy, and culture-creative industry project have been formed led by the central government. The implications that we can draw from the advanced countries are as follows. First, it is necessary for the government to introduce a long-distance type of policy that proposes only the policies regarding cultural contents, rather than intervening in the market. Second, it is necessary to install a conciliating organization like Ofcom in England that can mediate dualised political rights regarding cultural contents between the Ministry of Culture, Sports and Tourism and the Ministry of Science, ICT and Future Planning. Finally, considering the current situation of Korean cultural policy and structure of actual implementation, building cooperative governance centered at metropolitan government will be proper in order to simultaneously achieve the policies of supporting private sector as well as promotion policy. 창조경제는 상상과 지식과 정보를 이용하여 산업전반에 접목시켜 일자리를 창출하고 부를 증대시키는 경제활동을 말하고 창조산업은 창조경제 활동과정이나 결과로 발생하는 지속적인 생산물을 생성하는 것을 말하며 문화산업은 창조산업의 핵심을 이룬다. 문화콘텐츠는 인간의 창의성(creativity)을 바탕으로 상상력․감성․예술성․가치관 등 문화적 요소와 결합하여 미디어를 통해 재화서비스로 전달됨으로써 경제적 가치뿐만 아니라 사회문화적인 의미, 정체성, 가치 등을 창출한다. 문화콘텐츠 산업은 창조경제의 가장 중심에 위치해 있다고 할 수 있으며 이러한 문화콘텐츠 육성을 위해 세계적인 노력이 경주되어 왔다. 창조경제의 선진국인 영국에서부터 미국과 독일 그리고 일본에 이르기까지 창조경제 문화콘텐츠 산업 진흥을 위한 정책들이 형성되어왔고, 정책을 이루기 위한 거버넌스 협력체가 구조화되었다. 미국은 엔터테인먼트산업에 대하여 조세정책을 위주로 여러 독립기관들을 두면서 시장경쟁제도를 조장하였다. 영국은 팔길이 정책 등 민간과 거리를 유지하는 정책을 취하면서 오프컴이라는 거버넌스 협력기구를 설치하여 정책을 조정하였다. 일본은 가장 최근 쿨재팬 정책으로 일본 문화콘텐츠의 세계적 성장을 추진하고 있으나 그 성과는 가시적이지 않았다. 독일은 전통적으로 주정부에서 세부적인 정책을 마련하고 시행하였으나 사회보험정책, 콘셉트 2000 정책, 문화-창조산업 프로젝트 등은 연방정부 주도로 형성되었으며 점차 연방정부의 권한이 강화되고 있다. 해외사례가 우리에게 주는 시사점은 첫째, 정부는 문화콘텐츠 정책을 이끌 뿐 시장에 개입하지 않는 원거리 정책이 요구되며, 둘째, 문화체육관광부와 미래창조과학부의 이원화된 문화콘텐츠 정책권을 조정해 줄 수 있는 영국의 오프컴과 같은 조정기구의 설치가 필요하며, 셋째 우리나라의 문화정책 실현의 구조상 민간지원 정책과 진흥정책을 동시에 달성하기 위해서는 광역자치단체가 중심이 되어 협력거버넌스를 구축하는 것이 적절한 것으로 보인다.

문화산업의 법률적 정의 및 개념 고찰

김시범 인문콘텐츠학회 2018 인문콘텐츠 Vol.0 No.48

Korean Cultural Contents Industry has been growing faster than the other Korean industries for last two decades. But, the conception of ‘Cultural Contents Industry’ is not clearly defined yet. This paper studies the conceptions of ‘Cultural Industries’ and ‘Content Industry’ as well as ‘Culture and Arts’, ‘Cultural Products’ and ‘Content’ which have been defined at Korean legal systems including 「Culture and Arts Promotion Act」, 「Framework Act on the Promotion of Cultural Industries」 and 「Content Industry Promotion Act」. This paper reviews the conception changes of the legal terms from 1995 when the ‘Cultural Industry’ was firstly defined at 「Culture and Arts Promotion Act」 and compare those legal terms with other acts which have been amended frequently. The industry value chain could be divided by four stages ; planning & creation stage, business development & production stage, practical utilizing & distribution stage, possession & consumption stage. The industry object is tangible or intangible goods of materials or information, such as, codes, letters, diagrams, colors, voices, sound, images or videos and their combinations which create the economic value added with cultural elements, such as, artistic value, originality, entertainment, refreshment, and popularity. The industry field covers publishing with literature & linguistics, printing & periodicals, cartoons, music with Korean classical music, movies with video materials, performance with dance, festivals, fine arts with characters, design advertising, broadcasting pictures with drama & animation and games. There are tangible industry fields including architecture, cultural properties, artworks, craftworks, costumes, sculpture, ornaments,props, household items and digital contents industry field, such as, edutainment, mobile cultural content, digital cultural content, user-created cultural content and multimedia cultural content. Also, cultural space of exhibitions, expositions, sample fairs, photographs, popular culture and art industry, entertainments are included. 우리나라 문화산업은 빠르게 성장하고 있지만, 아직 그 개념이 명확하게 정립되지못하였다. 이 글에서는 「문화예술진흥법」, 「문화산업진흥기본법」, 「콘텐츠산업진흥법」, 「콘텐츠산업 특수분류」 등과 같은 법제도상에 정의되고 있는 ‘문화예술’, ‘문화상품’, ‘콘텐츠’, ‘문화산업’, ‘콘텐츠산업’ 등의 개념을 살펴보았다. ‘문화산업’이법에서 정의된 1995년부터 법제도의 신규 제정 및 개정을 통해 그 개념이 어떻게변화되었는지를 비교분석하였다. 문화산업의 가치사슬은 기획창작단계인 ‘기획ㆍ개발’, 사업화단계인 ‘제작ㆍ생산’, 활용유통단계인 ‘공연ㆍ전시ㆍ유통’, 그리고 소비향유단계인 ‘소비ㆍ이용ㆍ판매’로 나누어 볼 수 있다. 산업의 대상은 예술성ㆍ창의성ㆍ오락성ㆍ여가성ㆍ대중성등의 문화적 요소가 체화(體化)되어 경제적 부가가치를 창출하는 유형ㆍ무형의 재화인 부호ㆍ문자ㆍ도형ㆍ색채ㆍ음성ㆍ음향ㆍ이미지 및 영상 등의 자료ㆍ정보 및이를 제공하는 서비스의 복합체를 의미한다. 이 산업의 영역은 만화, 영화, 국악을포함한 음악, 무용ㆍ연극ㆍ축제를 포함한 공연, 연예(演藝), 미술ㆍ디자인 요소를활용한 광고, 캐릭터, 인쇄ㆍ정기간행물ㆍ문학ㆍ어문(語文)을 아우르는 출판, 애니메이션ㆍ비디오물을 포함한 방송영상물 및 게임 등을 포함한다. 또한, 유형의 건축, 문화재, 미술품, 공예품, 의상, 조형물, 장식용품, 소품 및 생활용품 등과 지식정보ㆍ 콘텐츠솔류션ㆍ에듀테인먼트ㆍ모바일문화콘텐츠ㆍ디지털문화콘텐츠ㆍ사용자제작문화콘텐츠ㆍ멀티미디어문화콘텐츠 등의 전자매체 기반의 문화상품과 전시회ㆍ 박람회ㆍ견본시장 등의 문화공간과 사진 및 대중문화예술산업 등이 포함된다.

Research on the Innovative Development Model of the Chinese Museum Cultural Creative Industry in the New Media Era

Mingzhen Wang 동북아문화예술경영학회 2024 Journal of Northeast Asian Arts and Cultural Manag Vol.1 No.1

Purpose – The purpose of this study is to clarify the development status of museum cultural creative industry in the new media era, and make contributions to the development of museum cultural creative industry in the new media era. Use new media technology to enhance the innovation and development space of museum culture. Design/Methodology/Approach – This study uses the method of literature research and case study, combined with the Palace Museum, Suzhou Museum and other large museums for in-depth analysis. By combing national policies and industry norms, the development and sale of cultural and creative products, and the application of digital technology, the paper summarizes the problems in the development and sale of museum cultural and creative products. Findings – It is necessary to grasp the opportunities for the development of cultural and creative industries, innovate the development concept of museums, and implement industrial development policies. From the application of digital technology, market-oriented operation and other aspects to accelerate the pace of museum cultural and creative industry development. At the same time, establish brand awareness, multi-channel marketing, and promote the comprehensive development of museum cultural and creative industry. Research Implications – This study enriches the theoretical scope of new media development. In addition, through the analysis of the development status of the cultural and creative industry of museums, it more clearly indicates the practical difficulties faced by the development of the cultural and creative industry of museums, and points out the direction for the development of the cultural and creative industry of museums in the future.

문화융성 및 창조경제의 활성화를 위한 문화재 법정책 방안

김창규 ( Chang Kyu Kim ) 한국법정책학회 2014 법과 정책연구 Vol.14 No.2

With the advancement of society, cultural maturity should be accompanied by economic development. Today, each country in the world is entering a creative culture-based economy society the creative classes and industries that lead social and cultural maturity. In addition, the creative culture-based economy and society shift beyond previous knowledge/information-driven “Computer and Communications (C&C)” era to emotion/culture-centered “Creativity and Content (C&C)” era. The core axis of the national growth converts from knowledge and information to creativity. Especially, in the digital convergence era, the national competitiveness depends on the quantity and quality of digital contents, and the cultural industry combining ideas, emotions and contents emerges as a leading industry of economic growth. Like this, the 21st century world order depends not on ideological, political and economic aspects but on culture, and cultural capacity is getting a symbol of the scale of the national strength. In addition, with its inauguration, the Park Geun-hye Government suggests “cultural enrichment” of “enrichment of culture and enrichment through culture” as one of the national keynotes, and attaches importance to creative economy taking culture, emotion, creativity-based creative industries as the new growth engine in the future. To realize this cultural enrichment and creative economy, the transmission and development of the traditional culture is most important of all. The traditional culture is the root and basis of Korean culture. It is because the permanent transmission and development of the traditional culture through popularization, modernization and globalization are the very development of Korean culture and the dynamics of cultural enrichment and creative economy. Thus, this paper aims to suggest exploration and development plans for the future challenges of the laws and policies on the traditional culture and cultural properties for cultural enrichment and the revitalization of creative economy based on the autonomy, openness and respect of pluralism of culture acting as the basic principle of cultural development and the spread of cultural values. For this purpose, this paper set the basic principle for the revitalization of cultural enrichment and creative economy and suggested the rediscovery of Korean cultural resources, support system reform of cultural artists, promotion of cultural values of local festivals, training and advancement of traditional culture professionals, strengthening the cultural heritage management capabilities and promotion plan of traditional cultural industries as the measures for its practices. Especially, to strengthen the cultural heritage management capabilities, the foundation of cultural heritage manager”s qualifications, the construction of cultural heritage information integration management system construction, the foundation of professional management organizations, the establishment of framework act on the policies of cultural heritage and the foundation of “Korea Cultural Heritage Policy Research Institute” were emphasized. It is expected that these suggestions will successfully soft land in societies of Korea, which will become a country where the people are happy and that a new era of hope will unfold.

영국 창조산업정책의 특징과창조경제에 대한 시사점

정상철 한국유럽학회 2013 유럽연구 Vol.31 No.3

We draw some implications for Korea’s creative economy from the UK’s experiences after reviewing the UK’ Creative industry policies which the Labor Party(1997∽2010) and the Conservative Party(2010∽) prosecuted. The UK is relatively objective and proper case for Korea in that the Conservative Party evaluated the creative industry polices of the previous government and established new policy targets in 2010, the year of power transition from the Labor Party to the Conservative Party. While the Labor Party’s creative industry policies were focused on content industries representing ‘Cool Britannia’, the pivot of the creative industries moved to the tourism industry. This was rooted in the recognition that the UK’s attractive assets are the history and traditional cultures. This UK’s turning point roughly corresponded the time using the term of cultural and creative industries(CCIs) in EU. The Green Paper on ‘Unlocking the potential of the cultural and creative industries’(UNCTAD, 2010) defined the CCIs as representing highly innovative companies with great economic potential sectors including new technologies. The Korea’s creative industries should expand their boundary through a variety of fusions between culture and technology, using information and communication technology (hereafter, ICT) infrastructure. The role of government is to establish the infrastructure of accumulating cultural capital,with maintaining spontaneity from the private sector and making the governance to promote the use of ICT. 본 논문은 창조경제를 경제의 문화화로 이해하고, 이에 대한 시사점을 영국의 창조산업육성정책으로부터 도출하고 있다. 기존 경제에 대한 신경제(new economy)로서 창조경제론의 핵심적 가치를 경제의 문화화로 보고 있다. 유럽에서는 예술가가 일반 기업의 혁신프로그램에 참여하여 경제의 문화화를 시도하는 창조적 연계(creative alliances)를 시도하고 있다. 본 논문에서 영국의 사례를 참조한 이유는 영국이 일찍부터 창조산업의 경제적 잠재력을 감지하고 적극적으로 정책을 펼쳤으며 2010년에 정권 교체로 그간의 창조산업육성정책에 대한 일련의 평가가 이루어졌기 때문이다. 경제의 문화화라는 창조경제론의관점에서 영국의 사례를 통해 다음의 세 가지 측면에서 시사점을 제시하고 있다. 첫째, 향후 콘텐츠산업에 있어서 기존 영역 외에 콘텐츠가 융합할 수 있는 영역 즉 관광, 문화재및 새로운 기술 영역을 포함한 ‘문화창조산업 (cultural and creative industries : CCIs)’를 새롭게 적용하고 이를 문화체육관광부의 거버넌스에 반영하는 것이 필요하다. 둘째, 소프트 혁신과 창의적 기술은 기존 산업이나 기술의 융합을 용이하게 하며, 특히 융합 중에서도 문화와 산업의 융합, 문화와 기술의 융합을 가속화시킬 것이므로 이에 대한 관심이요구된다. 셋째, 창조경제에서의 발전 잠재력은 창조자산의 스톡량과 그것을 활용하는 역량에 따라 달라진다. 단순히 교육수준으로 대변되는 인적자본(human capital)보다는 창의력을 발휘할 수 있는 문화자본(cultural capital) 형성이 정책적 측면에서는 더 의미가 있다. 개인이 문화자본을 형성할 수 있도록 일과 삶의 균형(work & life balance)을 바꾸는소프트한 정책이 긴요하다.

창조경제 시대의 문화산업과 지역문화정책

홍종열(Hong, Jong Youl) 한국문화산업학회 2012 문화산업연구 Vol.12 No.2

In this era of creative economy, there is much attention towards a synergy effect created by creative industries and creative city. A case for this synergy effect can be found in Liverpool City in the UK. First of all, the history and characteristics of cultural policy in the UK will be considered. Subsequently, it is analyzed creative industries in the UK which is growing so fast over 10 years and now second position in the world. Finally, Liverpool City will be analysed as a case study of a creative city related to creative industries. Especially, in 2008 Liverpool was an European capital of culture which was successful for the local culture policy in Europe. New and various views and outlook related to local culture policy can be shown through this concrete case study. This study will give us several implications and new perspective. In this era of creative economy, there is much attention towards a synergy effect created by creative industries and creative city. A case for this synergy effect can be found in Liverpool City in the UK. First of all, the history and characteristics of cultural policy in the UK will be considered. Subsequently, it is analyzed creative industries in the UK which is growing so fast over 10 years and now second position in the world. Finally, Liverpool City will be analysed as a case study of a creative city related to creative industries. Especially, in 2008 Liverpool was an European capital of culture which was successful for the local culture policy in Europe. New and various views and outlook related to local culture policy can be shown through this concrete case study. This study will give us several implications and new perspective.

산업유휴부지를 활용한 문화창의산업단지의 문화적 경제적 효과 연구 - 타이베이 화산1914 창의문화원구 및 송산문창원구를 중심으로 -

이금진 한국문화공간건축학회 2021 한국문화공간건축학회논문집 Vol.- No.74

The Purpose of this paper is to study the cultural and economic value of ‘culture creative industries’ that resued idle industrial sites Huashan1914 Creative Park and Songshan Cultural and Creative Park in Taipei. A cultural and creative industry-led creative city incorporating maker culture, focusing on the foundation of the urban industry, has been converted into a culture creative industries by reusing industrial idle sites as a culture and art space, and new economic added value is being converted from the manufacturing industry to the culture and art industry. Huashan1914 Creative Park and Songshan Cultural and Creative Park, which preserve the existing factory buildings as much as possible and provide spaces and sicial programs for the culture and creative industries is discussed in the aspect of cultural policy and the economic role of the culture creative industries in connection with the creative city and maker culture. The culture creative industries pursues economic effects by integrating cultural resources, technology, and human resources, under the strategy that can grow into a field of cultural industry through mutual exchange between local communities and identity that shares the history and social context, a sense of belonging through various experiences, community consciousness and citizen participation.

대만 영상 콘텐츠 산업의 동향과 전망

허욱 한국디지털영상학회 2009 디지털영상학술지 Vol.6 No.1

The cultural content has been a great role of cross cultural exchange between Korea and Taiwan, although the official diplomatic relations of two countries have been broken for 16years. In addition, historical, political, and economical similarity of two countries will support dramatic increase of cultural exchanges in a short future. The major aim of this research paper is not only introducing structure of visual content industry in Taiwan, but also providing the way of finding a new foreign market through understanding of cultural similarities and differentiations. The concept of understanding visual content industry and its context will offer an idea to develop new contents for Taiwanese market and a long term strategy to extend global market aiming to the pan-Chinese speaking region. The content of the research include 1) definition and classification of Taiwanese Cultural Creative Industry which is slightly different from cultural content industry in Korea, and 2) status and analysis of visual content industry in Taiwan specially Broadcasting, Film, and Animation industry. I hope that the content of this paper will inspire related content industries, who want to set a strategy to enter Taiwanese cultural content market and the pan-Chinese market as well, to pursue their creative vision to achieve their goals.

창조유럽(Creative Europe)과 창조경제의 문화 아젠다

홍종열 중앙대학교 외국학연구소 2013 외국학연구 Vol.- No.26

Our society is moving on a creative economy paradigm beyond a knowledge-based society. Cultural and creative industries are becoming important as new sources of economic wealth. Many countries of the world are trying to adopt policies to foster cultural and creative industries for economic growth, employment extension, and promotion of the national brand. In 2013, the new Korean government has placed stress on the creative economy as a keynote. For the creative economy, it will be necessary to more clearly define the concepts of creativity and culture. This paper will consider the ‘Creative Europe’ programme in the EU as an upbringing policy of creative economy. Creative Europe is the new EU programme dedicated to the cultural and creative sectors, proposed by the European Commission. Europe needs to invest more in its cultural and creative sectors because they significantly contribute to economic growth, employment, innovation and social cohesion. With the new EU programme, Europe hopes to achieve several objectives. Creative Europe seeks to safeguard and promote cultural and linguistic diversity and strengthen the competitiveness of the cultural and creative sectors. The Creative Europe programme will give us a positive perception of the value of creativity and culture as a meaningful case for a concrete economic system.