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.

중국 영화산업촉진법에 대한 고찰

김호 ( Jin Gao ) 중앙대학교 문화미디어엔터테인먼트법연구소 2018 문화.미디어.엔터테인먼트 법 Vol.12 No.1

중국의 고속적인 경제성장과 더불어 중국 국민들의 문화수요가 갈수록 높아지고 있고, 이는 중국 영화산업의 폭발적인 성장에 직접적으로 반영된다. 그럼에도 불구하고 오랜 시기 중국의 영화산업 관련 입법은 지속적으로 공백 상태에 처해 있었고, 관련 입법의 부재는 중국 영화산업의 건전한 발전을 저해하는 하나의 큰 요소로 작용하였다. 2017년부터 시행된 중국의 “영화산업촉진법”은 영화를 적용대상으로 하는 최초의 ‘법률’이라는데 큰 의의가 있다 할 것이다. 따라서 동법은 처음으로 영화를 국가산업으로 규정하면서 이를 지원할 수 있는 법적 근거를 마련하고, 영화산업에 종사할 수 있는 요건을 완화함으로써 영화산업의 촉진을 도모할 수 있다는 등 긍정적인 평가를 내릴 수 있다. 중국 영화산업의 활성화를 도모하기 위하여 “영화산업촉진법”은 기존의 허가증제도로 인한 진입장벽을 대폭 완화하여 영화활동에 종사할 수 있는 문턱을 낮추었고, 영화 내용에 대한 심사를 체계화 했으며, 영화관과 같은 영화상영장소에 대한 감독·관리를 강화함으로써 대중들의 영화관람의 편리를 도모하였다. 또한 농촌과 같은 영화관람이 어려운 지역에 대한 지원을 강화하여 해당 지역에 거주하고 있는 대중들의 문화수요를 충족시키기 위해 노력하고, 영화산업에 대한 재정적인 지원을 강화함으로써 영화활동 종사자들에게 혜택을 제공하였다. 그럼에도 불구하고 “영화산업촉진법”은 심사기준이 추상적이어서 이를 구체화할 필요성이 있고, 여전히 영화등급제를 규정하지 않았다는 부분이 아쉬움으로 남는다. 따라서 향후 추가적인 입법을 통하여 추상적인 내용을 구체화할 필요가 있는 것으로 보이고, 또 영화산업의 효율적인 관리 및 미성년자 영화관람의 보호를 위해서라도 개정을 통하여 영화등급제 도입이 필요할 것으로 보인다. With the high speed growing economy, Chinese people’s cultural demand also rising. As a result, China’s film industry is growing explosively. Meanwhile, the legislative level is low and the normative documents are complex, thus leading to the law construction of the film industry is far behind the practice development. The “Film Industry Promotion Law” which come into force on 2017 is the first ‘Law’ apply to film in China. The “Film Industry Promotion Law” is the first law which provide film industry as national industry, and establish a legal basis for supporting film industry. In order to promote the development of film industry, the “Film Industry Promotion Law” remove several license system, tighten supervision and administration to the public projection at fixed projection venues such as cinemas. Also, the Law strengthen the supporting for film activities at farming areas, and encourage to provde financial supporting for citizens, legal persons, and other organizations conducting film activities. Although, the “Film Industry Promotion Law” also have some problems need to improve. Such as, the censor standard is too abstract, so need to materialize the contents of censorship. The other one problem is the Law still not adopt the film rating system. So, in order to administ the film industry effectively and protect the minors watching film, need to adment the Law and adopt the film rating system.

중국 영화 산업의 정착 및 도약 시기(2002~2009)에 관한 고찰 — 2002년 이후, 중국 영화 산업화 개혁의 성과와 과제 1

유경철 고려대학교 중국학연구소 2019 中國學論叢 Vol.0 No.63

Ever since 2002, the Chinese film industry has developed at an unprecedented speed along with the acceleration of industrialization of China and as a result, in 2017, the film market of China has become the 2nd largest following of North America. This development could be divided into three stages. The first could be named the stage of settlement and leap of the film industry of China from 2002 to 2009, the second could be named the stage of explosive growth and the third could be named the stage of new normal. This study investigated various characteristics of the first stage in which the film industry of China settled and its growth and development fully started. First of all, its development could not be made without efforts of the government of China for industrialization. To lower the entry threshold for the film industry, the government of China made revisions to the Film Management Ordinance and came up with reformative measures. With this enhanced political background, private enterprises could gradually develop competences to lead the film industry, and money from all levels of society was flowing into the film industry through new approaches and methods. In addition, major film studies have contributed to the expansion of the film industry and accelerated its development by incorporating many of chains of the film industry. During this process, movies have became a large part of everyday life of the public in China. However, despite this rapid development of the film industry, it is still highly emphasized on a few major cities of China. It shows how much the film industry of China has developed in this stage, but it also indicates that there is a still sufficient room for its development. Through the stage II, it reached the sales of box office of 10 billion yuan in 2010 and with the consistent development, it entered the stage of new normal in 2016.

중국 영화 산업의 폭발적 성장 시기(2010~2015년)에 관한 고찰 — 2002년 이후, 중국 영화 산업화 개혁의 성과와 과제 2

유경철 고려대학교 중국학연구소 2019 中國學論叢 Vol.0 No.65

The Chinese film industry that not only was settled down as an industry but also achieved a huge growth in 2002-2009, was explosively growing from 2010 to 2015. During this period, the number of Chinese films produced was ranked at the 3rd place in the world following the United States and India while its box office revenue was ranked at the 2nd place in the world following the North American market. The number of theater and screen in China was ranked at the 1st place in the world. On top of such external performances, there were positive changes in the Chinese film industry during this period as follows. First, the diversity of Chinese commercial entertainment films was secured while the qualitative level was improved. Many films in diverse genres such as youth film, fantasy film, and horror film were newly highlighted in this period. On top of diverse appearances of new films called Dadianying Film, Net Born Generation Film, and IP Film, the films fully reflecting the local conditions and sentiment of China did very well at the box office. Second, the radius of Chinese film market was expanded. Getting out of the existing condition in which the film theaters were mainly concentrated on the first-line cities, the theaters and screens were spread to the second/third-line cities and even lower regions. And the age of filmgoers was also largely reduced. The diversification and qualitative improvement of commercial films, and the expanded radius of film market have greatly contributed to the expansion of Chinese film industry scale. Third, the internet companies entered the Chinese films industry. Especially, such companies like Baidu, Alibaba, and Tencent called BAT, started concentrating on the investment in the film industry after entering the film production area. Out of many businesses carried forward by the film industry, especially, the operation of the film ticket booking platform is good enough to grab attention. By dominating the ticket booking platform business, such internet companies would be able to gradually expand their influences on the film industry. Based on the growth of this period, the Chinese film industry closely approached the Hollywood film industry of the United States which has been regarded as a ‘film power’. Still, there is a distance between them. More than 80% of the revenue of Chinese film industry is from the box office revenue within China, and the film censorship and screening is working as an obstacle to the development of Chinese film industry. Since 2016, the Chinese film industry has entered the new normal period. Even after 2016, the growth of the Chinese film industry is continued. It would be needed to take more time to see if the Chinese film industry could be continuously developing after overcoming many problems like the politics, economy, and diplomacy.

중국 영화산업촉진법 시행에 따른 한국 영화산업 발전방안

황현정 한국문화산업학회 2018 문화산업연구 Vol.18 No.1

The “Chinese Film Industry Promotion Act”, which is enforced since March 2017, is the first law in the field of Chinese culture industry. It is composed of 6 chapters and 60 articles including creation, filming, distribution, screening, industrial support and guarantee, and legal liability. Chinese film industry is predicting that the legislation of China will make a big change in the movie market. With the guarantee of this legal system, the Chinese film industry market is showing rapid growth in terms of production volume and performance in its films. With only a few Korean films and Korea China co-production films that have been successful in the Chinese film market, the growth rate of Chinese films is making it harder for Korean films to enter China market. The purpose of this study is to analyze the trends of Chinese film industry policy in the future and to suggest the development strategy of the Korean film industry in comparison with the existing policy, by focusing on the contents of the Act on the Promotion of the Movie Industry in order to make Korean films effectively enter Chinese market. The key findings of the study can be summarized as in the following. First, China will establish basic principles and systems for the development of the movie industry based on the Promotion of the Film Industry Promotion Act, and will strongly promote the management supervision and support policies for the movie industry. Secondly, it is necessary to reorganize the governmental organization of Korea corresponding to the growth of the Chinese film market and the execution power of the Chinese government, and propose a practical policy plan for the development of the Korean movie industry related to the cultivation of film talents and copyright protection. 2017년 3월부터 시행중인 ‘중화인민공화국 영화산업촉진법’(이하 ‘영화산업촉진법’)은 중국 문화산업 분야의 첫 법률로서 영화의 창작, 촬영, 배급, 상영, 산업 지원 및 보장, 법적 책임 등 총 6장 60개 조항으로 이루어져 있다. 중국 영화 산업계는 법률 제정으로 영화산업시장의 안정적인 변화를 기대하고 있으며 실제로 2017년 중국 영화산업시장은 자국영화의 제작수량과 흥행측면에서 지속적인 성장세를 보여주고 있다. 중국영화시장에서 성공을 거둔 한국영화와 한중 공동 제작 영화가 몇 편에 불과한 상황에서 중국 자국영화의 성장률은 한국 영화의 대 중국진출을 더 어렵게 만들고 있다. 이에 본 연구는 한국 영화가 중국시장에 효과적으로 진출하기 위해서 영화산업촉진법의 주요 내용을 중심으로 기존 정책과 비교하여, 향후 중국 영화산업 정책 동향을 분석하고, 한국 영화산업의 발전방안을 제시하고자 하였다. 연구의 주요 핵심결과를 요약하면 다음과 같다. 첫째 중국은 영화산업촉진법을 근거로 영화산업 발전을 위한 기본원칙과 제도를 수립하고, 영화산업에 대한 관리감독 및 지원정책을 강력하게 추진할 것이다. 둘째 중국 영화시장의 성장과 중국정부의 실행력에 상응하는 한국의 정부조직을 재편성해야 하고, 영화산업촉진법에서 강조하고 있는 영화인재 양성, 저작권 보호와 관련해 한국영화산업 발전을 위한 실질적인 정책방안을 제시하였다.

대구 영화산업의 현황과 육성전략

서곡숙(Sea Kok Sook) 한국영화학회 2008 영화연구 Vol.0 No.38

This research wants to study on the present state and promotion strategy of the film industry in Daegu. The first, I want to consider the present state of the film industry in Daegu. The culture industry measures of Daegu are solidifying the foundation of culture industry, promoting this city as an international game city, building up the foundation of performance industry, and encouraging the film/animation industry. The film industry measures of Daegu are operating the film media center, holding the short film festival of Daegu, holding the ani-character festival, and so on. The activities of the Daegu Film Media Center are educating film/media, lending film equipment and instrument, screening the movie not to show, and so on. The aspects of the film industry in Daegu are the lack of infrastructure of film production, the consumption-oriented tendency, difficulty of independent film and uncommercial film distribution, the lack of location results, the lack the economic effect, no Film Committee, no international film festival. The second, the promotion plan of the film industry in Daegu is cultivating human resources by film education, establishing human infrastructure, building up the base of the development of the film industry by Daegu Film Committee, the integration of human infrastructure and material infrastructure, the combined power of local film associations, development/production of contents and formation of a market, a model production and distribution of the Daegu film, promotion of Daegu film industry fund, and so on. The present state of the film industry in Daegu is given little weight and that should be needed. In promotion strategy of the film industry in Daegu there are only individual discussions and no mutual suggestion and no concrete practice, then integration and the choice/concentration is needed.

미국영화산업의 발전과 검열에 대한 대응

홍종규 한국미국사학회 2011 미국사연구 Vol.34 No.-

This study investigated how American film industry appeared in end of 19th century responded to censorship from local government or federal government and as a result, what appearances the film industry were changed to. In America, film industry appeared in the turning period from 19th century to the 20th century. As nickelodeon appeared between 1905 and 1910, the film industry had grown as popular entertainment industry. And voice requiring regulation against such movies became high. The press, the religious world, revolutionists mainly asserted regulation and censorship for such a film industry. They asserted that film industry made emigrants and the worker class be degraded culturally and morally. And they gave pressure on local government or federal government so that they could implement censorship about movies. Furthermore, they tried to make system to regulate movies. Pressure of censorship about film industry can be investigated largely in three stages. The first stage is the period of the National Board of Censorship which appeared by film industries as a response to pressure of censorship when initial film industry appeared. Second stage is the period of Motion Picture Production Code which appeared to respond to the National Board of Censorship – Motion Picture Production Code appeared in the level of state government or city government after Mutual Decision saying that movie is not media or organization for public opinion. Final stage is the period of Rating system appeared after the Miracle Case saying that expression in movie has the freedom of speech and publication. In the first stage, American film industries founded and sponsored the National Board of Censorship which was organized by favorable social bodies for them to avoid pressure of censorship in 1909. The National Board of Censorship favorable for film industries from its birth started as an independent organization but they became subordinate to Motion Picture Patents Company which was an organization of American film industries. Under this circumstances, the Board of Censorship in state level began to be founded and in early 1914, a bill for establishment of Federal Motion Picture Committee for censorship of federal level was submitted. Although the bill was rejected, this showed necessity of new organization which can efficiently respond to threat of censorship for film industries. On the other hand, Mutual Decision in 1915 made be sure of necessity for such an organization for film industries, made establish National Association of the Motion Picture Industry in 1915, and led to establish the Motion Picture Producers and Distributors of America in 1922. William H. Hays, the representative of this organization thought that the best alternative to avoid pressure of censorship is self-regulation. To this end, Motion Picture Production Code was legislated in 1934 and all the member companies were requested to follow this Code. But during the Second great war, movie started to make a strong approach about social problems and around end of 1940s, movies dealing with sexual joke appeared. This situation stirred up controversy about censorship again. On the other hand, in 1945, the Motion Picture Producers and Distributors of America was changed to Motion Picture Association of America and censorship was intended to be strengthened. However, the Miracle Case in 1952 made the Board of Censorship in state level gradually disappear. Through a series of accidents, Motion Picture Production Code gradually lost its authority in film industries. Accordingly, in 1968, Motion Picture Association of America implemented voluntary Rating system which has continued until today. 본 논문은 19세기 말 등장한 미국의 영화산업이 지방정부 혹은 연방정부의 검열에 어떻게 대응하였으며 그 결과 어떠한 모습으로 변화하였는지에 대하여 살펴보고자한다. 미국에서 영화산업에 대한 압력은 3단계로 나누어 볼 수 있다. 먼저, 영화산업의 등장과 함께 검열이 시도되었으며 이에 대한 답으로 전국영화검열위원회가 등장하였다. 두 번째 단계는 영화는 언론이나 여론 기구가 아니라고 판결한 뮤추얼 판결이후 지방 정부에서 등장하기 시작한 검열위원회에 대응하기 위해 등장한 영화제작규범시대이다. 마지막으로 영화적 표현은 수정헌법 1조에 위배되지 않는다고 판결한 미라클 사건이후 등장한 등급제 시기이다. 이러한 3단계의 시기를 거치면서 미국의 영화산업계는 자율규제를 통해 연방 혹은 주 단위의 검열을 피하여 그들의 이익을 보호하고자 하였으며 이들은 대체적으로 성공적인 결과를 보였다고 할 수 있다.

부산 영상산업 성과분석과 육성방안

유영명 ( Yung Myung Yoo ),김형빈 ( Hyung Bin Kim ) 아시아.유럽미래학회 2009 유라시아연구 Vol.6 No.4

한국영화의 산업적 측면에서 2000년 들어와 다양한 변화 중에 하나가 지방자치단체를 중심으로 나타난 지역 영상산업의 구축을 위한 시도이다. 물론 이러한 변화는 동일한 시기에 한국영화에 있어 나타난 산업화의 가능성에 따른 영화를 둘러싼 주변 환경의 변화와도 밀접한 연관성을 찾을 수 있다. 실제로 그 이전 영산산업을 논할 때는 서울을 제외한 지방의 가능성은 언급조차 되지 않았는데, 이는 대부분의 산업에서 인력과 자본 그리고 관련 인프라가 거의 서울에 집중화되어 있기 때문에 영상산업 역시 예외일 수 없었기 때문이다. 또한 언어나 문화적으로 한국이라는 제한된 영화시장의 규모 자체가 서로 나눠 갖기엔 시장이 너무 작다는 인식이 지배적 이였기에 각 지방자치단체 수준에서의 영화산업 활성화를 위한 노력이 거의 없었다. 그러나 고착화될 것 같던 상황이 몇몇 지방자치단체를 중심으로 특성화된 지역발전이라는 가치아래 서서히 변화의 가능성을 엿보게 되었는데, 그 대표적인 예가 바로 부산이다. 그동안 부산은 부산국제영화제의 성공적인 개회를 기반으로 하여 영상산업이 수도권 이외 지역으로서 처음으로 영화중심 도시로서의 성장가능성에 대한 기대를 갖게 되었다. 그리고 주요 영화영상 관련시설이 서울중심의 수도권에 편중되고, 이에 따른 국가 영상산업경쟁력 저하와 자원의 중복투자가 우려되는 시점에서 지방자치단체 차원의 영화산업에 대한 확고한 지원 의지는 향후 영화도시로서의 도시 이미지 제고와 중앙정부의 지역 특화 지원을 유도하는 근거가 되고 있다. 하지만 지역특화산업으로서 영상산업을 지속적으로 발전시키기 위해서는 기존 지역산업 정책성과에 관한 구체적이고 종합적인 분석이 전제되어야 할 것이다. 지금까지는 지역차원에서 지역 영상산업의 추진과정과 성과에 대한 객관적 평가시스템이 제대로 구축되어 있지 않다. 이는 과거 지방자치단체 수준에서의 이러한 전례가 없기 때문에 당연한 결과이다. 향후 제시될 지역산업 중장기 비전의 실행력을 높이기 위해서는 기존 영상산업 정책성과에 관한 구체적이고 종합적인 분석이 전제되어야 한다. 이러한 분석결과에 근거할 때 지역영상 산업육성정책은 연속성과 구체성을 지니는 차원으로 개선될 수 있으며, 단순한 비전제시가 아니라 구체적인 실행력을 갖춘 로드맵 수립과 이에 근거한 투자우선순위 및 신규사업 선정이 가능하며, 지역전략산업의 지속적인 고부가가치화를 기대할 수 있다. 부산이 지역전략산업으로서 영상산업을 지속적으로 발전시키기 위해서는 기존 지역산업 정책성과에 관한 구체적이고 종합적인 분석이 전제되어야 할 것이다. 즉, 영상산업의 정확한 현황파악과 성과분석으로 실질적인 영상산업 중장기 비전 수집을 위한 객관적 근거 마련이 필요하다. 따라서 본 연구는 영상산업을 대상으로 지역산업정책 평가의 기본적 틀을 제시하고 향후 지역경제 개선방향 도출의 기회로 삼고자 한다. 이는 무엇보다도 ‘영화축제’ 중심적인 영상산업을 산업적 차원에서 접근하는 계기로 삼고자 하는 것이며 궁극적으로는 영상산업을 정보통신 및 관광산업 등 타산업과의 연계 등으로 미래지향적인 산업으로의 발전을 가져오는데 필수적이다. The year 2000 may prove to be a watershed year in the development of korea`s fledgling film industry with several significant accomplishment and local films making inroads in the korean marketplace. With the success of Pusan International Film Festival, Busan has started organizing Busan film community. As part of its continuing efforts in film industry development, Busan organised the Film and the Visual Arts industry bringing in film productions from Seoul and other countries. The Film and the Visual Arts industry is a civilian and government joint organization offering administrative support and all kinds. Based on success of the Pusan International Film Festival(PIFF), the Film and the Visual Arts industry in Busan has grown the major industry that will lead the Busan economy. Before fostering the Film and Visual Arts as a regional strategic industry and intensifying local industrial structure through Regional Industry Road Map, we should consider evaluating whether the regional industrial policies are effectively functioning in terms of Performance Maximization of Regional Strategic Industry. Until now, there have been few research efforts aimed at estimating policy effect of regional strategic industry. The purpose of this research is to review the process of the Film and Visual Arts industry growth in Busan, suggest the Performance assessment system for the Regional Strategic Industry Project and present a alternatives focusing on promotion strategy. This performance analysis lays emphasis on location quotient analysis(LQ) and Shift-Share Analysis. Especially, we set quantitative analysis standard and qualitative analysis standard with professional survey to consider possibility to develop growth potentiality for the region in the future as well as objective innovation capacity that the region carries. The result of this research will be contributed to settle a policy fostering the growth power industry for the local community development. we expect that this research will arrange the framework of various policies fostering regional strategic industry.

An Exploratory Study on the Application and Impact of Artificial Intelligence Technology in China’s Film and Television Industry: Centered on the Innovation and Development Strategy of AI in Film Production

Zegang Liu 동북아문화예술경영학회 2024 Journal of Northeast Asian Arts and Cultural Manag Vol.1 No.1

Purpose - This paper discusses the historical traceability of artificial intelligence technology and its development lineage in the film and television industry. It analyzes the close connection between AI technology and the film and television industry. The text summarizes the challenges and impacts of AI technology on the film and television industry, along with suggestions for future development. Design/Methodology/Approach - In order to explore the impact of artificial intelligence on the film and television culture industry, this paper analyzes the impact of artificial intelligence on the film and television culture industry from the perspective of macro-industry and the perspective of application technology, starting from the overall technological impetus of artificial intelligence to the film and television culture industry and the application of artificial intelligence in film and television image processing. The case was analyzed in detail. Based on a summary of previous research, this study identifies key issues and proposes solutions. Findings - Through the research of this paper, the problems of artificial intelligence in film and television creation are summarized, and the potential problems are easily generated technical dependence, legal risks in creation, and reduced professional value of practitioners, etc. Countermeasure suggestions are put forward to break the technical dependence, provide a legal basis for the creation of artificial intelligence, and adjust the use of the positioning to realize the synergy between man and machine. Research Implications - This paper aims to enhance the application of AI in the film and television culture industry, thereby increasing the industry vitality of the film and television sector.

한국 영화산업 발전 모델로서의 영국 영화산업 연구

김창유(Kim, Tchang Yu) 동국대학교 영상미디어센터 2016 씨네포럼 Vol.0 No.23

현재 한국 영화산업은 영화의 생산과 소비에 관련된 다양한 분야들에서 모두 세계 10위 내에 자리 잡고 있을 정도로 세계 영화산업에 있어서 큰 비중을 차지하고 있다. 한편 이러한 상황에서 한국 영화산업의 지속적인 성장을 가로막는 장애 요인으로 국내 인구의 고령화, 인종 및 언어적 차원의 한계 그리고 그에 따른 국내 영화 시장 크기의 제한 등을 들 수 있으며 이와 더불어 지난 몇 년 전부터 강력하게 부각되고 있는 중국 자본의 등장과 그에 따른 시장 영향력의 확대가 새로운 국제적 이슈로 나타나고 있다. 한국 영화산업의 미래는 이러한 문제를 어떻게 대처할 수 있는 가에 따라 결정될 것이라 판단하는데 논자는 영국 영화산업을 모델로 하면서 한국 영화산업의 발전에 대한 해답을 구하고자 한다. 지난 15년 간 영국 영화산업은 국제적으로 커다란 발전을 이루어 오면서 세계 영화산업에서 상위 5개국으로 도약한 바 있다. 영국 영화산업의 전략은 우수한 전문 인력을 바탕으로 하면서 미국 할리우드와의 공동제작으로 통한 시장 확대를 도모하였을 뿐만 아니라 컬처 테스트 등으로 대표되는 인센티브 제도를 적극 가동하여 영국 내 로케이션 유치 및 제작 투자 유치를 이끌어 냄으로써 영국을 세계 영화산업의 또 다른 중심으로 만들어 나가고 있다. 세계 영화산업에서 인용되고 있는 다양한 자료와 지표들은 지난 15년간의 영국 영화산업의 엄청난 성장과 발전을 증명하고 있으며 그에 따른 고용 효과도 크게 상승함으로써 영국은 국가적으로 현재의 발전 전략을 계속 지원하려고 하고 있다. 본 논문은 제한된 시장과 인력을 바탕으로 세계 영화산업의 중심 국가로 성장한 영국 영화산업의 발전 전략과 모델을 한국 영화산업에 접목하려는 목적을 가지고 연구한 결과이며 이를 통해 한국 영화산업의 한계를 넘어서서 지속적 성장 방안을 제시하고자 한다. 한편 지난 15년간의 영국 영화산업의 발전을 대가로 할리우드에 대한 영국 영화산업의 종속이라는 새로운 문제를 직면하게 된다. 지표상으로는 영국 영화산업이 큰 성장을 이룬 듯하지만 그에 따른 과실은 모두 할리우드로 귀속되는 모순을 겪고 있으며 할리우드를 배경으로 하지 못하면 생존하지 못할 것이라는 산업적 위기감에서 벗어나지 못하고 있는 것이 영국 영화산업의 현실이다. 본 논문은 이러한 영국 영화산업과 할리우드의 관계는 한국 영화산업과 중국 자본과의 관계 설정에 있어서 현실적인 선례라고 판단하였고 이를 참고하여 한국 영화산업과 중국 자본의 관계가 지금의 영국영화산업과 할리우드 자본의 관계로 나아가서 안 될 것이라는 점을 제안한다. 한국 영화산업의 미래 지속적인 발전은 아시아를 바탕으로 하는 다양한 공동 제작, 한국으로의 로케이션 유치(단순한 공간 제공이 아니라 다양한 기술서비스들을 포함하는) 그리고 국제적인 제작 투자 유치 등에 의해 가능할 것이며 이 과정에서 중국 자본의 역할이 지대할 것으로 판단한다. 이와 더불어, 영국 영화산업의 할리우드에 대한 종속이라는 선례에서 볼 수 있듯이 한국 영화산업과 중국 자본과의 관계 설정에 따라 한국영화산업의 미래가 좌우될 것으로 판단한다. Film project planning, producing ability and preference of domestic film has positioned korea film industry on one of 10 world best film industries with US, UK, China, Japan, India, France. But korean film industry is now facing new challenges from depopulation and aging, ethnic and language barriers, and limited size of domestic market issues. And inward investment mainly from China is another issue as well. Korea film industry needs to handle these issues and find a way out to keep film industry progressing. UK film industry which is estimated at least within world best 5 might be an ideal model for korea film industry to overcome its own current issues. Last 15 years, UK film industry has done world remarkable progress by inducing co-productions, locations, inward investments into UK and then has brought positive influences on employment for film people and local/national economy. Every related indicators to estimate the industry such as film producing and consuming say that UK film industry is good enough to be success model for korea film industry. Key words for understanding UK film industry is hollywood major studios. Almost all of the film investments are coming from the studios because UK is sharing many things with US, language, culture, ethnic, history and also UK government"s film industry supporting programs like Film Tax Relief(FTR) and Cultural Test attract co-production and inward investment into UK. On the other hand, UK"s strong devotion to the studios brings another question many UK film people worry whether UK film industry is able to survive the world competition without studio back-up. This kind of UK industry issue might be possibly coming to korea film industry in near future as well. This paper intends to find success model for korea film industry in case of UK film industry and tries to suggest many related data as possible for the objective points of view.