한국 영화산업의 대중국 진출방안에 관한 연구

김현지(Kim Hyun-Jee) 한국문화산업학회 2007 문화산업연구 Vol.7 No.1

China is lively traded with Korea. And so it is filled with Korean culture. But, china is in bad theater situation and Hollywood movies have power. Moreover, there are so many illegal DVD copies. So we need to set up variety strategies for this popularity. This paper aims to suggest by advance scheme into China of korean movie industry. Therefore, we need to approach not also Korean movies' development but also its exportation. For making Korean movie industry advance into China, we should try to do these things. First, we need to study exactly about China market like production, distributing, screening, audience. We can figure out the right way of marketing or public relations. Second, we should make more chances to introduce Korean movies. It doesn't mean one time event. It should be a long term plan. For example, it is good idea to take place in Korean movie festival regularly. Third, we have to widen international trade. We can get more market and reduce risks by coauthorship or joint stock. It is not necessary to make story about every countries that part in the coauthorship. So it is more important to make better movies in quality. If we could produce movies in this way, we could get good results and informations by that. China is lively traded with Korea. And so it is filled with Korean culture. But, china is in bad theater situation and Hollywood movies have power. Moreover, there are so many illegal DVD copies. So we need to set up variety strategies for this popularity. This paper aims to suggest by advance scheme into China of korean movie industry. Therefore, we need to approach not also Korean movies' development but also its exportation. For making Korean movie industry advance into China, we should try to do these things. First, we need to study exactly about China market like production, distributing, screening, audience. We can figure out the right way of marketing or public relations. Second, we should make more chances to introduce Korean movies. It doesn't mean one time event. It should be a long term plan. For example, it is good idea to take place in Korean movie festival regularly. Third, we have to widen international trade. We can get more market and reduce risks by coauthorship or joint stock. It is not necessary to make story about every countries that part in the coauthorship. So it is more important to make better movies in quality. If we could produce movies in this way, we could get good results and informations by that.

한국의 슬리퍼 히트 영화 사례와 그 특징에 관한 연구

유승호(Ryu Seoung-Ho),류설리(Ryu Seol-Ri) 한국문화산업학회 2008 문화산업연구 Vol.8 No.1

The movie industry is uncertain due to 'nobody knows' principle. Movie industry is not simple but complex so that there should be special approach to the success of movie industry. In order to investigate the critical success factor of movie success, we took the cases of 'sleeper hit movie' which becomes successful with a small amount of cost in production. Through the sleeper hit movie, we get to know how movie can have a huge success especially during the depression of Korean movie industry. This paper shows that sleeper hit movies have really and persistently existed in Korea and it is one of the best ways to increase Korean movie industry if there are lots of support for Sleeper hit movie by government or public sector since sleeper hit movie is centered on story-oriented characteristic and high attraction to audiences. The movie industry is uncertain due to 'nobody knows' principle. Movie industry is not simple but complex so that there should be special approach to the success of movie industry. In order to investigate the critical success factor of movie success, we took the cases of 'sleeper hit movie' which becomes successful with a small amount of cost in production. Through the sleeper hit movie, we get to know how movie can have a huge success especially during the depression of Korean movie industry. This paper shows that sleeper hit movies have really and persistently existed in Korea and it is one of the best ways to increase Korean movie industry if there are lots of support for Sleeper hit movie by government or public sector since sleeper hit movie is centered on story-oriented characteristic and high attraction to audiences.

Does a Home Market Model Explain the Korea-US Movie Trade?: An Empirical Analysis and Media Policy Implications

이상우,김원식 한국무역학회 2010 Journal of Korea trade Vol.14 No.1

The purpose of this study is to empirically investigate the determinants of market structure in the Korean film industry, specifically through the Korea - U. S. movie trade, by applying a home market economic model, i.e. the bigger the film-related revenue, the higher investment, the larger shares in domestic and foreign markets. Another purpose is to propose policy implications based on empirical results for the development of the Korean movie industry. Our results confirm that home market effects explain the fluctuating market share of Korean films in the domestic market. The existence of home market effects in determining film trade flow and the effects of domestic media policies on the growth of the national film infrastructure should be considered in the formulation of a domestic film policy. In particular, the importance of the domestic movie support base suggests deregulation of movie support media to increase the size of the Korean market and simultaneously increase Korean movies’ shares of both foreign and domestic markets. American movies have kept a dominant position in the Korean movie industry mainly because the slow diffusion of movie support media in Korea is misdirected by protectionism and other similar policies. The recent increase in the share of the Korean market taken by locally-produced Korean movies may be explained by the deregulation of the domestic film industry and movie support media. As movie exporters, Korean film distributors who wish to exploit foreign markets should target those countries with low cultural discounts and poor movie infrastructure. More investment in the Korean movie industry would facilitate higher penetration of Korean movies into culturally homogeneous but lesser investing foreign markets.

할리우드의 映畵産業 戰略과 韓國映畵産業의 新 進路

차인태,전평국 경기대학교 1999 論文集 Vol.43 No.1

This paper discusses the American movie industry, represented by Hollywood. and its foreign market strategy and its overall impact on the korean movie industry. Especially, this paper focuses on analyzing the current crisis of the Korea movie industry and developing the possible alternatives or new path for its reinvigoration by comparing the Production, distribution, and promotion system between the movie industries of the two countries. This paper argues that the current world dominance of the American movie industry can be attributed to its economies of scale, mass production, windowing effect through the horizontal and vertical integration among the relevant industries, strong marketing and distribution system, successful creation of derivative industries through the utilization of mass communication, and the export push and price differentiation policy of the American government. In contrast, this paper argues, the Korean movie industry is handicapped by insufficient movie infrastructure, emphasis on import of foreign movies rather than on national production of its own movies, meagerness of movie production capital, absence of the cooperation system or structure among the movie-relevant industries, and non-transparency of capital flowing for movie production. Following these arguments, this paper suggests that establishment of the strong infrastructure, creation of its own new image and brand for Korean movies, aggressive and efficient marketing strategy, and appropriate policy support of the government are necessary for the reinvigoration and development of the Korean movie industry.

2000년 이후 韓中 블록버스터에 관한 一考察

김정은 한국외국어대학교 중국연구소 2020 中國硏究 Vol.83 No.-

The huge success of Shiri (1999) was a trigger of changes in Korean movie market ruled by Hollywood and Chinese/Hong Kong movies sparking off quantitative and qualitative growth of Korean film industry and market. This rapid growth also accelerated the production of Korean blockbuster movies. On the other hand, the hit of Crouching Tiger, Hidden Dragon (2000) opened a new chapter for Chinese movies. During the concerns of flooding Hollywood movies after China has joined WTO, it made an environment for active production of Chinese blockbusters and this trend lead the growth of Chinese film industry and market. Korean and Chinese blockbuster movies have been produced in order to fight against Hollywood movies and similarities can be found in position, status and development process in both Korean and Chinese film industry and market. This study aims to analyze Korean and Chinese blockbuster movies largely in three aspects with the view of comparative study. Firstly, it compares and contrasts the status of blockbuster movies in both Korean and Chinese film industry and market through various statistic analysis. Secondly, it identifies features and limitation of Korean and Chinese blockbuster movies by examining similarities and differences in materials, contents, genre, and narrative. Thirdly, it considers current status and features of interchange of Korean and Chinese blockbuster movies analyzing the performance of Chinese blockbusters in Korea and that of Korean blockbusters in China. Through these analysis, this study ultimately aims to explore the direction in which the blockbusters in both countries are heading. 1999년 <쉬리>의 성공은 할리우드 영화와 중국영화(홍콩영화)가 강세를 보이던 한국영화시장의 판도를 단숨에 뒤바꾸기 시작했으며, 영화산업과 시장의 양적인 성장과 더불어 질적인 성장을 이룩하였다. 이러한 급속한 성장 속에서 한국판 블록버스터의 제작 또한 가속화 되었다. 한편 <와호장룡>의 성공은 중국영화에 있어서 새로운 전환의 신호탄을 쏘아 올렸다. 중국의 WTO 가입으로 인한 할리우드 영화의 공세가 예상되는 상황에서 중국판 블록버스터의 본격적인 제작을 추동하였으며 이는 중국영화 산업과 시장의 성장을 주도하기 시작했다. 이처럼 한중 블록버스터 영화의 본격적인 제작의 배경에는 할리우드 영화의 대항마로써의 역할이 강하게 요구되었고, 한중 양국의 영화산업과 시장에서 블록버스터의 위치와 위상, 발전 양상 등은 유사한 면모를 보이고 있다. 본고는 비교연구의 시각에서 한중 블록버스터를 크게 세 가지 측면에서 분석한다. 첫째, 다양한 통계의 분석을 통해 한중 양국의 영화산업과 시장에 있어서 블록버스터의 현주소를 파악한다. 둘째, 한중 블록버스터의 소재와 내용, 장르, 서사 전개 등에서 나타나는 유사점과 차이점을 분석하여 특징과 한계를 파악한다. 셋째, 한국에서의 중국 블록버스터의 성과, 중국에서의 한국 블록버스터의 성과에 대해 분석하여, 한중 블록버스터 교류의 현주소와 명암을 고찰한다. 이를 통해 궁극적으로 한중 양국의 블록버스터가 나아갈 방향을 탐색해 본다.

중국의 한국영화 수용에 대한 연구 : 2006-2008년

강내영(Kang Nae Young) 한국영화학회 2010 영화연구 Vol.0 No.43

The purpose of this study is to explore the acceptance of Korean movies in China, search for development of Korean movies in China and globalization strategy. Korean movies in China have the same rise and fall with Korean-Wave from 90'. After explosive popularity of 〈My Sassy Girl〉, faced with hesitation because of government's import regulation and qualitative growth of Chinese movies. Now Chinese government which confronted with globalization time is carrying out industrialization and open-marketing. Owing to this reason, movie production growed from 100 films in 2002 to 406 films in 2008. Movies total profit also growed from 220 millions Yuan in 2003 to 252 millions Yuan. Movies also are faced with new transition of pluralism time which are commerce movies, art movies, main meody movies. Neverthless, Chinese movies in external growth are affected regulation policy and censorship of government. Then, How are korean movies in China faced with under the contradiction both regulation policy and open-marketing? How are Chinese percept about korean movies? In order to this subjects, the purpose of this study is to explore research korean movies statistics in China, the government regulation policies of import, tendency of korean movie study in China, survey for twenties etc. And to conclude, Firstly, korean movies are screening 2-3films every year in China, Secondly, need to know well chinese import regulation policies, Thirdly, be based on survey, make efforts develop strong points and reform shortcomings. Fourth, need to more Korea-China culture interchange Therefore, I hope this study to contribute to new strategy for korean movies export and development in globalization age.

한국영화산업 지속 성장을 위한 프랑스 영화관 구독제 프로그램 연구

노철환 ( Roh Chul-hwan ) 한국디지털영상학회 2024 디지털영상학술지 Vol.21 No.1

무제한 카드는 프랑스의 대표적인 영화관 회원제 프로그램이다. 프랑스식 영화관 구독제 프로그램은 매월 20유로 가량의 월정액을 지불하는 회원에게 무제한 영화 관람 기회를 제공한다. 2000년대 초 프랑스에서 시작한 영화관 구독제 프로그램은, 2010년대 미국, 2020년대에는 영국, 독일 등 유럽 국가들로 확산되고 있다. 본 연구는 크게 네 단계로 진행한다. 먼저, 구독 경제와 프랑스의 영화관 시장을 소개한다. 이는 프랑스 사례를 한국의 영화관시장 전망에 활용하기 위한 기반에 해당한다. 이어 프랑스의 영화관 구독제 프로그램과 그 구조를 설명한다. 20년 넘게 무제한 관람 방식으로 운용이 가능했던 까닭을 분석하기 위함이다. 마지막으로 구독제 프로그램의 성과를 평가함으로써 한국식 영화관 구독제 도입을 위한 제언을 시도한다. 프랑스는 할리우드에 맞서 자국 영화산업을 지키고, 예술적 영향력을 오랜기간 유지하고 있다. 한국만이 아니라 유럽연합 국가들이 영화 정책 수립에 프랑스의 사례를 참고하는 것도 같은 이유에서다. 본 연구는 영화관 구독제를 통해 한국영화산업의 지속 성장과 문화적 다양성 강화 방안 모색을 목표로 한다. The Unlimited Card is a typical French movie theater membership program. French movie theater subscription programs offer unlimited movie viewing to members who pay a monthly fee of around €20 per month. It originated in France in the early 2000s, spread to the United States in the 2010s, and to other European countries such as the United Kingdom and Germany in the 2020s. This study is organized in four main steps. First, we introduce the subscription economy and the French movie theater subscription program. This serves as a basis for using the French case as a projection of the Korean movie theater market. Next, we describe the French movie theater subscription program and its structure. We analyze why it has been able to operate as an all-you-can-view system for over 20 years. Finally, we evaluate the performance of the subscription program and make recommendations for introducing a Korean-style movie theater subscription program. France has a long history of defending its film industry against Hollywood and maintaining its artistic influence. It is for this reason that not only South Korea but also European Union countries look to France's example for film policy. This study aims to explore how to sustainably grow the Korean film industry and strengthen cultural diversity through movie theater subscriptions.

문화에서 산업으로, IMF 이후 한국영화의 위상 변화와 인식의 전환

이현진 ( Hyun Jin Lee ) 한양대학교 현대영화연구소 2014 현대영화연구 Vol.10 No.3

The IMF led to rapid structural change of Korean film industry. And through the confusion and crisis of the IMF, 2000s Korean films, compared to the previous, was surprisingly improved. And recognizing on Korean film was also rapidly converted an area of culture to an area of industry. After the IMF, Korean films have been developed in conjunction with stable capital of media company. The incidents that affected the changes in the recognition on the Korean film were the advent of multiplex theaters and media company, the screen quota system discussion and film industry union establishment. The three incidents, in neo- liberalism environment and confusion after IMF, have affected each other and more particularly played a crucial role in recognition transformation of Korean movies. The role of multiplex theaters made a great contribution in these industrial development. And multiplex theaters in commercial space, as like ‘mall’, started to convert a concept of film as art to a concept of product as industry. The Screen quota system discussion will be understood as a trigger or unavoidable process that concept of film(target concept) is converting to concept of industry (source concept). Korean film industry also entered the neo-liberalism environment, thereby the Screen quarter system had to follow the logic of the economy as the Korea-US investment agreement subject. Establishment of the film industry unions and collective wage consultation could be understood as part of the result of the conversion of the recognition that movie as an industry. The film industry unions and collective wage consultation must be understood in conjunction with the new liberalism abd other elements to bring the conversion of recognition.

CGV 멀티플렉스 극장의 등장과 관람 문화 변화 연구

박소연,한상언 조선대학교 인문학연구원 2019 인문학연구 Vol.0 No.57

It has been 20 years in Korea since the first multiplex theater was established near Gangbyeon subway station in 1998. The launch of multiplex theater became a significant turing point in history of Korean cinema by implementing a new relationship among movie industry, theater districts, and the audience. This paper aims to analyze a map of Korean movie industry, movie-watching culture and some aspects of theater districts after the multiplex theater was introduced in 1998. First, the multiplex theater not only has increased the total number of audience every year and the production cost of Korean movies, but also has produced a lot of specific genre movies with star actors/ actresses. Also, with the spread of multiplex theater, the concept of movie was changed from culture to commodity and movie-watching was considered as daily leisure activity. Moreover, theater districts were moved to Gangnam because of the multiplex theater. When the multiplex theater was established in rural areas, it developed outskirts of the city and the commercial area was formed around the multiplex theater. Since 1998, the number of multiplex theaters has been steadily increasing, but now, they are competing with a new movie-watching culture which enables the audience to watch a movie anywhere in the Internet and mobile device era. As a result, the multiplex theater is transformed into a space that provides the audience with an immersive viewing experience through specialized theaters or with participatory experience through various cultural facilities. 1998년 처음으로 강변에 멀티플렉스 극장이 등장한 지 20년이 흘렀다. 멀티플렉스 극장의 도입은 영화 산업, 영화 관람 공간, 영화 관객 간의 관계를 새롭게 구축하며 한국영화사에서 의미있는 전환점이 되었다. 본 논문은 CGV 강변 11을 시작으로 국내에 도입된 멀티플렉스 극장이 바꿔 놓은 한국영화 산업의 지형, 관람 문화와 극장가 형성 양상을 종합적으로 살펴보고 분석한다. 우선 멀티플렉스 극장은 연간 관객 수를 증가시켰고, 한국 영화 제작비를 증가시켰으며, 스타 배우 위주의 특정 장르 영화를 양산했다. 또한, 영화에 대한 인식을 문화에서 상품으로 변화시킨 계기가 되었으며, 영화 관람 행위 역시 일상적인 여가 활동으로 간주되기 시작했다. 서울에서 멀티플렉스 극장은 기존의 극장가 지역을 강남으로 이동시켰고, 도시 외곽 및 지방에서는 멀티플렉스 극장이 세워진 지역을 중심으로 상권이 발전했다. 이후 멀티플렉스 극장은 그 수를 지속적으로 늘려갔지만, 인터넷과 모바일 기기를 통해 장소에 구애받지 않고 영화를 관람할 수 있는 관람 문화와 경쟁해야하는 상황에 놓였다. 이에 따라 멀티플렉스 극장은 특별관 및 다양한 문화시설을 통해 관객의 몰입적 관람 경험과 참여적 체험을 유도하는 공간으로 변모하고 있다.

스크린쿼터제 규제법리에 관한 연구

서순복(Seo, Sun-Bok) 조선대학교 법학연구원 2011 法學論叢 Vol.18 No.1

정부는 한미 FTA를 추진하는 과정에서 2006년 1월 26일 국산영화 의무상영일수(스크린쿼터)를 40%(146일)에서 20%(73일)로 축소한다고 발표하고 동년 7월부터 시행된 이후, 한국영화시장점유율이 점차 줄어들었다. 한편 스크린쿼터제가 극장경영주의 직업의 자유를 제한하는 것이 된다는 점에서 제기된 쟁점에 대해, 1995년 7월 21일 영화법 제26조 등에 대한 헌법소원결정에서 헌법재판소는 관여재판관 전원 일치로 국산영화의무상영제(스크린쿼터제)를 합헌으로 보았다. 즉 스크린쿼터제를 통한 한국영화의 보호가 한국문화의 보호와 영상산업 부가가치 보호를 위한 중요한 공공복리이라고 판단하여 ‘목적의 정당성’ 원칙에서 볼 때 적합하고, ‘방법의 적정성’ 원칙과 손해의 최소성 원칙 및 과잉금지원칙에도 반하지 않는다고 보았다. 그러나 방법의 적정성 면에서 당시 미국영화가 시장점유율 면에서 압도적 우위여건에 있다고 판단하였지만, 2010년 10월 현재 한국영화 시장점유율이 국산 영화의무상영일수가 73일로 축소되기 이전인 60%대로 다시 회복되었다. 2009년 국적별 영화시장점 유율에 따르면 한국영화가 미국영화 국내 영화시장점유율을 앞서고 있어서, 한국영화의 경쟁력이 결코 취약하지 않음을 통계로 보여주고 있다. 즉 헌법재판소가 판단하였던 당시 실정과는 다른 것이다. 또한 목적의 정당성 측면에서도 한국영화의 보호가 한국문화 및 한국 영상산업의 보호를 위해 목적이 정당하다고 하였지만, 요즘 영화생산이 다국적화되어 공동제작되고 있는 상황에서, 어떤 영화가 한국영화인지 명확하지 않고, 영화진흥위원회에서 마련한 공동제작영화의 한국영화 인정기준(2010년)에서도 한국적 연관성 기준의 비중은 미미할 뿐만 아니라 과거에 비해 줄어들었다는 점에서 목적의 정당성 기준은 재검토할 필요가 있다. By GATT(General Agreement on Tariff and Trade, Article IV) Screen quotas may requirge the exhibition of cinematograph films of national origin during a specified minimum proportion of total screen time actually utilized, over a specified period of not less than one year, in the commercial exhibition of all films of whatever origin. The purpose of Screen quota is to give domestic films proper screening opportunities in the film markets. Screen quota can be justified if Hollywood films have a dominating distribution power in the Korean movie markets. In March, 2006, the so-called screen quota(the required days of screening for Korean films) was reduced by half to over 73 days(1/5 of a year). The Effectiveness of Screen-Quota differ according to interest groups. Some studies had asserted that screen-quota policy made it possible for the Korean Film Industry to prosper, preserve the originality of Korean Culture, and to conserve Cultural Diversity. But Most studies on the effectiveness of Screen-Quota policy show that it did not work well as asserted. In addition, the current Korean movie industry is dominated by vertically integrated companies those involved in the production of more than half of domestic films. that is to say, the structural changes of the Korean Films industry have occurred. Theater managers had requested the Constitutional Court to rule on the constitutionality of the clause of Screen Quota. In 1996, The Constitutional Court ruled that Screen Quota is constitutional. Even though Screen Quota restrict somewhat the freedom of job, Screen Quota os constitutional in terms of the legitimacy of objective, relevance of means. Recently The production environment of Korean Movies are rapidly globalized. Especially, it is wandered what are Korean Movies. Are Korean Films if they were producted in Korea, Korean Film Actors played, Korean Capital invested? In these days Culture production including Films was multi-nationalized. So Screen Quota Policy and legal judgement need to be reexamined in terms of multi-nationalty of film production, competitiveness of Korean Movie and structural changes in Movie Industries.