Inspirations for China`s Cultural Industry Development from the Construction of Korea`s Cultural Industry Chain

( Ping Jian Guo ),( Hai Xia Fang ) 복식문화학회 2010 Fashion, industry and education Vol.13 No.2

The purpose of this research was to understand the successful establishment of the cultural industry chain in Korea and discover lessons for China to improve its cultural industry. It was concluded that a one-industry development pattern cannot win in market competition and a cultural industry will strengthen its sustainability only through smoothing its relationship with other industries and establishing a cultural industry chain so as to further development and resist crises together.

대구 문화콘텐츠산업의 가치사슬 체계와 경영 특성

박경숙(Kyung Sook Park),이철우(Chul Woo Lee) 한국지역지리학회 2007 한국지역지리학회지 Vol.13 No.2

본 연구는 대구문화콘텐츠산업의 발달과정 및 입지, 가치사슬체계와 가치사슬 유형별 기업의 경영특성을 중심으로 존립기반을 분석하였다. 대구문화콘텐츠산업은 10명 미만의 소규모 영세업체인 사업화 초기단계의 기업이 중심이고, 최근 들어 온라인 유통을 기반으로 한 디지털 콘텐츠 제작 업체의 창업이 활발하다. 이들 업체는 대구디지털산업진흥원(DIP)을 중심으로 한 문화산업클러스터로 지정된 남구와 중구 등 도심에 집적하고 있다. 대구문화콘텐츠산업의 가치사슬체계는 콘텐츠 제작을 중심으로 콘텐츠 창작, 콘텐츠 제작, 홍보·마케팅 그리고 유통·배급으로 구성되어 있다. 이러한 가치사슬체계를 기초로 하여 대구문화콘텐츠산업의 기업은 4가지 유형으로 구분된다. 첫 번째 타입은 문화콘텐츠산업에서 콘텐츠 제작만을 수행하는 기업이다. 두 번째 타입은 콘텐츠 제작을 중심으로 둘 또는 세 개의 가치사슬을 수행하는 기업이며, 세 번째 타입은 콘텐츠 제작을 중심으로 콘텐츠 창작, 콘텐츠 제작, 홍보·마케팅, 유통·배급을 수행하는 기업이다. 네 번째 타입은 콘텐츠 제작을 하되 중심이 아니며 다양한 가치사슬을 수행하는 기업이다. This paper was to examine the existing foundation of cultural contents industry through analyzing the development process, the location pattern, and the value chain system and the management of cultural contents industry in Daegu. Most cultural contents industry in Daegu had less than ten employees; so, it was classified into the early stage of commercialization. The firms that dealt with on-line distribution were recently founded. The high portion of the firms was located in the center of city such as Jung-Gu and Nam-Gu in which the Center for Digital Industry Promotion of Daegu (DIP) is located. The value chain system consisted of four nodes such as creation node, production node, marketing node and distribution node. The production node was played the most important role. Based on value chain system, the cultural contents industry firms in Daegu could be divided into four types; Type Ⅰ is a contents production firm with a single value chain in the cultural contents industry. Type Ⅱ is a contents production firm with two or three value chains. Type Ⅲ is a contents production firm with comprehensive value chain. Type Ⅳ is a non contents production firm with multiple value chains.

캐릭터산업의 권리활용(Licensing)사업 가치사슬 체계화 연구

김시범(Kim, Si-Bum) 한국문화산업학회 2018 문화산업연구 Vol.18 No.2

문화를 산업으로 인식하고 발전시켜온 국가에서는 지식재산권에 기반을 두고 있는 문화상품을 활용하여 다른 산업과 접목을 시도하는 권리활용사업이 지속적으로 진행되었으며, 권리활용사업은 문화산업에 종사하는 창작자나 활용하는 사업자와 향유하는 최종소비자에게 새로운 부가가치를 제공하는 중요한 역할을 한다. 본 연구는 캐릭터산업의 권리활용사업 과정을〈기획 · 개발 · 제작 · 생산 · 유통 · 소비〉에 맞추어 재정립하고 권리활용사업의 가치사슬 연구를 위하여 문화산업 관련 국제 박람회에서 해외 산업전문가들의 의견을 수렴하고 분류하였다. 본 연구는 권리활용산업을 핵심분야와 연계분야로 구분하였으며, 핵심분야는 원천영역, 권리영역, 활용영역으로 나누고, 연계분야는 지원영역과 후광영역으로 나누었다. 지원영역은 다시 재무, 영업, 교육, 법률, 기술, 사회문화 지원영역으로 구분하고, 후광영역은 직접후광영역, 간접후광영역, 포괄후광영역으로 나누었다. 이러한 분야와 영역 분류를 기반으로 본 연구는 캐릭터산업의 권리활용사업의 핵심분야인 원천영역 · 권리영역 · 활용영역의 가치사슬을 각4단계로 체계화하였다. 문화산업의 가치사슬은 크게 1단계는 기획 · 창작 · 개발, 2단계는 제작 · 생산, 3단계는 유통 · 배급, 4 단계는 소비 · 향유 · 체험으로 나눌 수 있으며, 캐릭터산업의 원천영역 가치사슬도 1단계인 기획 · 창작 · 개발과정, 2단계 제작 · 생산과정과3단계 유통 · 배급과정을 거쳐 4단계 소비 · 향유 · 체험과정으로 이루어진다. 원천영역에서 발굴된 캐릭터의 권리활용에 대한2차가치사슬이 권리관리사에 의해 권리영역에서 형성된다. 권리영역에서는 1단계인 권리 기획 · 창작 · 발굴과정에 이어 2단계 권리 분석, 3단계 권리 거래, 4단계 권리 관리과정이 진행된다. 캐릭터 사용권리를 확보한 권리활용자가 그 캐릭터를 활용한 사업화를 진행하면서 3차 가치사슬이 활용영역에서 형성된다. 활용영역에서는 1단계인 활용상품 기획 · 개발, 2단계인 활용상품 제작 · 생산, 3단계인 활용상품 유통 · 배급, 4단계인 활용상품 소비 · 향유 · 체험과정으로3차 가치사슬이 진행된다. Licensing business, using intellectual property rights, has been popular in countries where cultural activities are developed as an industry. Licensing business is among important strategies to create value not only to the final users but to business entities of cultural industries. This study reshapes areas of character licensing industry based on the industry process of planning, development, production, manufacturing, distribution and consumption stages. Each stages of planning, development, manufacturing, production, distribution and consumption are divided into the key fields and the affiliate fields. The key fields are divided into three sectors, such as, the resource sector, the IP sector and the utilization sector. The affiliate fields are divided into two sectors, such as, the support sector and the halo sector. The support sectors are composed of finance, marketing, education, law, technology, social culture areas, and the halo sectors are composed of direct, indirect and comprehensive halo areas. The value chain of the industry consists of planning, creating and development process in the first stage, production and business in the second stage, distribution and broadcasting in the third stage, and consumption, enjoyment and experience in the fourth stage. A secondary value chain for the licensing rights of characters is in the IP sector - the first stage of the process of planning, creating and discovering rights, the second stage of the rights analysis, the third stage of trade, and the fourth stage of IP management process. As rights users use commercialize their characters, the third value chain is in areas of utilization. In the sector, the third value chain is through the first stage of planning and development of utilization products, the second stage of production and manufacturing, the third stage of distribution and broadcasting of utilization products, and the fourth stage of consumption, enjoyment and experience. 문화를 산업으로 인식하고 발전시켜온 국가에서는 지식재산권에 기반을 두고 있는 문화상품을 활용하여 다른 산업과 접목을 시도하는 권리활용사업이 지속적으로 진행되었으며, 권리활용사업은 문화산업에 종사하는 창작자나 활용하는 사업자와 향유하는 최종소비자에게 새로운 부가가치를 제공하는 중요한 역할을 한다. 본 연구는 캐릭터산업의 권리활용사업 과정을〈기획 · 개발 · 제작 · 생산 · 유통 · 소비〉에 맞추어 재정립하고 권리활용사업의 가치사슬 연구를 위하여 문화산업 관련 국제 박람회에서 해외 산업전문가들의 의견을 수렴하고 분류하였다. 본 연구는 권리활용산업을 핵심분야와 연계분야로 구분하였으며, 핵심분야는 원천영역, 권리영역, 활용영역으로 나누고, 연계분야는 지원영역과 후광영역으로 나누었다. 지원영역은 다시 재무, 영업, 교육, 법률, 기술, 사회문화 지원영역으로 구분하고, 후광영역은 직접후광영역, 간접후광영역, 포괄후광영역으로 나누었다. 이러한 분야와 영역 분류를 기반으로 본 연구는 캐릭터산업의 권리활용사업의 핵심분야인 원천영역 · 권리영역 · 활용영역의 가치사슬을 각4단계로 체계화하였다. 문화산업의 가치사슬은 크게 1단계는 기획 · 창작 · 개발, 2단계는 제작 · 생산, 3단계는 유통 · 배급, 4 단계는 소비 · 향유 · 체험으로 나눌 수 있으며, 캐릭터산업의 원천영역 가치사슬도 1단계인 기획 · 창작 · 개발과정, 2단계 제작 · 생산과정과3단계 유통 · 배급과정을 거쳐 4단계 소비 · 향유 · 체험과정으로 이루어진다. 원천영역에서 발굴된 캐릭터의 권리활용에 대한2차가치사슬이 권리관리사에 의해 권리영역에서 형성된다. 권리영역에서는 1단계인 권리 기획 · 창작 · 발굴과정에 이어 2단계 권리 분석, 3단계 권리 거래, 4단계 권리 관리과정이 진행된다. 캐릭터 사용권리를 확보한 권리활용자가 그 캐릭터를 활용한 사업화를 진행하면서 3차 가치사슬이 활용영역에서 형성된다. 활용영역에서는 1단계인 활용상품 기획 · 개발, 2단계인 활용상품 제작 · 생산, 3단계인 활용상품 유통 · 배급, 4단계인 활용상품 소비 · 향유 · 체험과정으로3차 가치사슬이 진행된다. Licensing business, using intellectual property rights, has been popular in countries where cultural activities are developed as an industry. Licensing business is among important strategies to create value not only to the final users but to business entities of cultural industries. This study reshapes areas of character licensing industry based on the industry process of planning, development, production, manufacturing, distribution and consumption stages. Each stages of planning, development, manufacturing, production, distribution and consumption are divided into the key fields and the affiliate fields. The key fields are divided into three sectors, such as, the resource sector, the IP sector and the utilization sector. The affiliate fields are divided into two sectors, such as, the support sector and the halo sector. The support sectors are composed of finance, marketing, education, law, technology, social culture areas, and the halo sectors are composed of direct, indirect and comprehensive halo areas. The value chain of the industry consists of planning, creating and development process in the first stage, production and business in the second stage, distribution and broadcasting in the third stage, and consumption, enjoyment and experience in the fourth stage. A secondary value chain for the licensing rights of characters is in the IP sector - the first stage of the process of planning, creating and discovering rights, the second stage of the rights analysis, the third stage of trade, and the fourth stage of IP management process. As rights users use commercialize their characters, the third value chain is in areas of utilization. In the sector, the third value chain is through the first stage of planning and development of utilization products, the second stage of production and manufacturing, the third stage of distribution and broadcasting of utilization products, and the fourth stage of consumption, enjoyment and experience.

‘전통문화산업진흥법’의 제정 의미와 전망

유동환 ( Yoo Donghwan ) 동국대학교 전자불전문화콘텐츠연구소 2024 전자불전 Vol.26 No.-

2024년 전통문화산업진흥법이 제정되었고, 이에 따라 시행령도 마련되었고, 5년간 진행할 기본계획도 제정 발표되었다. 본 연구에서는 15년 이상 전통문화산업진흥법의 제정 과정을 통하여 이 법의 특수성을 살펴보았다. 그리고 이를 기반으로 이 법의 대상범위와 산업정체성을 분석하여 법령의 방향성을 분석하였다. 마지막으로 이 법을 기반으로 만들어진 기본계획의 장단점을 분석하고, 이에 기반하여 발전방향을 제시하고자 한다. 연구결과를 요약해 보면 다음과 같다. 첫째, 전통문화산업진흥법은 ‘전통문화’를 명확히 ‘문화자원’으로 규정하고,‘전통문화산업’은 창의성을 핵심으로 하는 창조산업(Creative Industry)의 ‘문화산업’이라는 산업정체성에 따라 진흥정책을 추진한다고 규정하고 있다. 둘째, 전통문화산업은 기본적으로 자원 융합형 산업이다. 2007년 한스타일육성종합계획 이후 문화체육관광부가 추진해 온 6H(한옥, 한식, 한복, 한지, 한국음악, 한글) 중심의 업종 중심 진흥 정책은 한계를 보여주었다. 문화산업으로서 전통문화산업은 가치사슬 선순환 체계를 핵심으로 하는 현대 4차 산업의 특징이 강한 융합형 산업이다. 셋째, 전통문화산업진흥법의 대상범위(전통생활양식과 전통예술) 분야 전체에 대한 장기간 상시적 실태조사가 시급히 필요하다. 전통문화산업은 가내수공업 규모가 대다수이고, 현대산업의 일부분으로 존립하는 등 실태조사에 큰 어려움이 있다. 법령이 규정한대로 2년마다 정기적으로 실태조사를 실시하는 것을 넘어서 통계청 국가승인통계가 될 수 있도록 발전시켜 나가아야 한다. 넷째, 전통문화산업진흥법과 기본계획의 효율적인 성공을 위하여 범정부 추진위원회 구성이 필요하다. 전통문화산업 진흥 법령과 정책은 농림축산식품부(한식), 국토해양부(한옥), 국가유산청(무형유산) 등 정부 각 부처와 청에 분산되어 진행되어 사업진행의 효율성을 구하기 어렵다. 문화체육관광부 내부에서 협력을 요청하는 수준으로는 효율적인 진행이 어려울 수 있으므로 좀더 분명한 국무총리 산하의 범정부 추진체계가 마련되어야 한다. 다섯째, 전통문화산업 진흥사업의 현단계 시급한 전략 핵심은 ‘대중화’에 초점을 맞춰야 한다. 전통문화산업계의 열악한 실태를 고려할 때 전통문화상품의 수요를 창출 확대하는 것이 가장 중요하다. 그리고 이러한 수요창출 노력에도 스토리텔링상품 등 문화산업인 접근방식과 민간기업 우 선의 원칙이 필요하다. 2024년에 시행되기 시작한 전통문화산업진흥법은 이제 첫 걸음을 떼 었다. 아래로는 산업현장의 특수성에 맞춘 진흥정책이 실현 될 수 있도록 노력해야 하고, 위로는 문화산업이라는 산업정체성에 기반하여 현대산업 계의 트랜드에 맞는 진흥사업이 추진될 수 있도록 지혜를 모아야 한다. In 2024, the Traditional Culture Industry Promotion Act was enacted, and an enforcement decree was prepared accordingly, and a basic plan for five years was also enacted and announced. The specificity of this law was examined through the process of enacting the Traditional Culture Industry Promotion Act for more than 15 years. And based on this, the direction of the law was analyzed by analyzing the scope of the subject and industrial identity of this law. Finally, the advantages and disadvantages of the basic plan made based on this law are analyzed, and based on this, the direction of development is suggested. The research results are summarized as follows. First, the Traditional Culture Industry Promotion Act clearly defines traditional culture as cultural resources, and traditional culture industry promotes promotion policies according to the industrial identity of cultural industry of creative industries with creativity as their core. Second, the traditional culture industry is basically a resource convergence industry. The industry-centered promotion policy centered on 6H (Korean house, Korean food, hanbok, Korean paper, Korean music, and Hangeul) that the Ministry of Culture, Sports and Tourism has been promoting since the 2007 Korean Style Promotion Comprehensive Plan showed limitations. As a cultural industry, the traditional culture industry is a convergence industry with strong characteristics of the modern 4th industry that has a virtuous cycle system of the value chain at its core. Third, there is an urgent need for a long-term and regular survey of the entire scope of the Traditional Culture Industry Promotion Act (traditional lifestyle and traditional arts). Traditional cultural industries have a large number of domestic handicrafts and have great difficulty in investigating the actual conditions, such as existing as part of the modern industry. As stipulated by the law, it is necessary to develop them to become national approval statistics of the National Statistical Office beyond conducting surveys every two years. Fourth, for the efficient success of the Traditional Culture Industry Promotion Act and the Basic Plan, it is necessary to form a pan-government promotion committee. Traditional culture industry promotion laws and policies are distributed and carried out in various government ministries and agencies such as the Ministry of Agriculture, Food and Rural Affairs (Korean Food), the Ministry of Land, Transport and Maritime Affairs (Hanok), and the National Heritage Administration (Intangible Heritage), making it difficult to obtain the efficiency of the project. Since it may be difficult to proceed efficiently at the level of requesting cooperation within the Ministry of Culture, Sports and Tourism, a more clear pan-government promotion system under the Prime Minister should be established. Fifth, the traditional cultural industry promotion project should focus on 'popularization' as the core of the strategy that is urgent at this stage. Considering the poor situation of the traditional cultural industry, it is most important to create and expand the demand for traditional cultural products. In addition, even in these efforts to create demand, an approach for cultural industries such as storytelling products and principles that prioritize private companies are needed. The Traditional Culture Industry Promotion Act, which began to take effect in 2024, has now taken its first step. Below, efforts should be made to realize promotion policies tailored to the specificity of the industrial site, and above, wisdom should be gathered so that promotion projects tailored to the trends of the modern industry can be promoted based on the industrial identity of the cultural industry.

Inspirations for China's Cultural Industry Development from the Construction of Korea's Cultural Industry Chain

Guo, Pingjian,Fang, Haixia The Costume Culture Association 2010 Fashion, industry and education Vol.13 No.2

The purpose of this research was to understand the successful establishment of the cultural industry chain in Korea and discover lessons for China to improve its cultural industry. It was concluded that a one-industry development pattern cannot win in market competition and a cultural industry will strengthen its sustainability only through smoothing its relationship with other industries and establishing a cultural industry chain so as to further development and resist crises together.

중국 전통문화자원의 산업화와 그 가능성 - 적용 가능한 산업화 이론 모형과 현황을 중심으로 -

김미랑 중앙대학교 외국학연구소 2014 외국학연구 Vol.- No.30

Chinese cultural heritages were exhaustively destroyed during the Cultural Revolution. But ever since the Chinese economic reformation of the 1980s, the Chinese government has been attempting to recover its political, economic, and cultural heritages, and looking for the development and reformation of its traditional cultural resources. Especially, the government- driven cultural industry policies after the beginning of the 21st century made the cultural industries grow rapidly. Simultaneously, the swift advancement of science and the change in the variety, form, and pattern of the cultural industry is requiring a new development model. But, if the preservation of cultural heritage progresses without considering the change in awareness of people, it is likely to be neglected. Therefore, the new methods of conservation are focusing on finding and giving modern meanings to it, and simultaneously industrializing these forgotten heritages. The Chinese government and experts are giving high priority to new approaches which efficiently industrialize distinctive traditional cultural resources. Therefore, this article will handle issues on the industrialization of Chinese traditional cultural resources based on the present conditions and applicable theoretical models of industrialization, and will propose a concrete method and future direction for it.

중국 ‘인터넷+ ’ 시대의 새로운 문화동력

오혜정(Oh, Hye-Jung) 동북아시아문화학회 2017 동북아 문화연구 Vol.1 No.50

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.

정의의 관점에서 문화연구자는 문화시장에 대해 무엇을 이야기할 수 있는가? -콘텐츠에 대한 사회기호학적 소고-

윤성노 ( Sung No Youn ) 한국기호학회 2015 기호학연구 Vol.43 No.-

The hypothesis of this paper originates from an observation that the disaster of <Sewolho> has something to do with the ``cold`` capitalism whose salient characteristics resides in putting profits in front of persons. Its objective is accordingly to discuss relations between cultural politics and ``enlarged`` market in introducing the cultural management a la francaise on the one hand, and to review the ``market-friendly democracy`` from a perspective of ``dynamics of meaning`` ``whose core is a socio-semiotics on the other hand. In the background of such a problematization we begin to explain why we need the socio-semiotics in referring to Saussure as researcher of anagrams(``words behind words``) and then to introduce a interdisciplinary methodology called dynamics of meaning and which allows us to give our position concerning what culture and cultural contents are. It is also interesting for us to deal with things like critics on media(Marshall McLuhan), Critical Theory on cultural industries(Frankfurt School), post-marxist interpretations of ideology(Louis Althusser, Antonio Gramsci). It offers an opportunity for us to explain why contents industries have emerged in recent Cultural Studies and then to define, from a socio-semiotic viewpoint, what the culture is and how to consider cultural contents as object of cultural politics. These themes of discussion constitute the first part of this paper. In its second part we propose a way of thinking the cultural market in light of the cultural management above mentioned. First thing to do is thus to discuss the roles of 4 subjects(creator, public, mediator, decision-maker) involved in the cultural management. In doing so we``d better talk about ``values`` of cultural merchandises rather than their ``price``, stance which implies a sort of dialectics between interests and public welfare. This explains why we talk about 仁義 rather than ``Justice`` and then use the concept of ``kinetic chain`` so as to think out of box, metaphorical analogy which leads us to review the ``standard`` economic textbook in such a way of showing why something goes wrong in the economic theories based on three hypothesis that follow; 1) ``the survival of the fittest constitutes the very essence of evolutionary mechanism``, 2) ``persons must not interfere in the order of market``, 3) ``the market is an autonomous system existing independently of the rest of society``, Finally we give some hints for the culturally beautiful nation that our loved leader Bakbum Kim Gu had been looking for and that we believe susceptible of helping to get out of the overall crisis due to the disaster in question.

정의의 관점에서 기호학은 문화시장에 대해 무엇을 이야기할 수 있는가?

윤성노 한국기호학회 2015 기호학연구 Vol.43 No.-

본고는 <세월호> 참사의 근본적인 원인이 ‘차가운’ 자본에 있다는 진단 하에, ‘사회기호학’의 관점에서 시장 친화적 민주주의를 비판적 시각에서 고찰하고, 프랑스식 문화경영 모델을 도입해 문화정치와 ‘확장된’ 시장주의의 관계를 논하는 데 그 목표를 둔다. 이를 위해 우선 문화산업에 대한 비판이론(호르크하이머와 아도르노), 미디어비평(맥루언), 네오-마르크스주의적 이데올로기론(그람시와 알튀세)을 비교․검토하고, 그 중요성이 부각되는 콘텐츠를 중심으로 문화연구의 지적 지형 변화를 설명한다. 또한 ‘의미의 동역학’이라는 이름의 통합기호학을 도입함으로써 문화콘텐츠를 규정하고, 문화연구를 위해 왜 ‘사회기호학’이 필요한지 논증한다. 이런 내용들이 본고의 1부를 구성한다. 2부에서 우리는 프랑스식 문화경영 모델을 도입하는 것으로 시작으로 “4대 문화경영주체들”(창작자, 공중, 결정권자, 매개자)의 역할 및 정책과 문화시장의 관계를 다각도로 논의한다. 우리의 기본 입장은 이윤과 공공선 사이에서 콘텐츠의 ‘가치’를 평가할 필요가 있고, 인의(仁義) 기반 동양식 정의관과 함께 “상자 밖에서 생각”할 수 있어야 하며, 그러자면 ‘정통’ 경제학 교과서에서 벗어나 ‘확장된’ 문화시장을 사유의 중심을 놓아야 한다는 것이다. 결론부에서는 경쟁패러다임의 가설적 토대를 비판하고, 백범 김구 선생이 꿈꾸던 ‘아름다운 문화국가’에 대한 비전을 제시하는 것으로 글을 마무리한다. The hypothesis of this paper originates from an observation that the disaster of <Sewolho> has something to do with the 'cold' capitalism whose salient characteristics resides in putting profits in front of persons. Its objective is accordingly to discuss relations between cultural politics and 'enlarged' market in introducing the cultural management à la française on the one hand, and to review the 'market-friendly democracy' from a perspective of 'dynamics of meaning' 'whose core is the socio-semiotics on the other hand. In the background of such a problematization we begin to deal with things like critics on media(Marshall McLuhan), Critical Theory on cultural industries(Frankfurt School), post-marxist interpretations of ideology(Louis Althusser, Antonio Gramsci). It offers an opportunity for us to explain why contents industries have emerged in recent Cultural Studies and then to define, from a socio-semiotic viewpoint, what the culture is and how to consider cultural contents as object of cultural politics. These themes of discussion constitute the first part of this paper. In its second part we propose a way of thinking the cultural market in light of the cultural management above mentioned. First thing to do is thus to discuss the roles of 4 subjects(creator, public, mediator, decision-maker) involved in the cultural management. In doing so we'd better talk about 'values' of cultural merchandises rather than their 'price', stance which implies a sort of dialectics between interests and public welfare. This explains why we try to define "仁義" rather than 'Justice' and then use metaphorically the concept of 'kinetic chain' so as to "think out of box", analogy which leads us to review the 'standard' economic textbook in such a way of showing why something goes wrong in the economic theories based on three hypothesis that follow; 1) 'the survival of the fittest constitutes the very essence of evolutionary mechanism', 2) 'persons must not interfere in the order of market', 3) 'the market is an autonomous system existing independently of the rest of society', Finally we give some hints for the "culturally beautiful nation" that our loved leader Bakbum Kim Gu had been looking for and that we believe susceptible of helping to get out of the overall crisis due to the disaster in question.

Research on Korean Cultural Industry Based on Global Production Networks Theory

진자량,줄리안 슈와베,이승철 한국경제지리학회 2023 한국경제지리학회지 Vol.26 No.4

As the cultural industry might be regarded as the most intimate industry to the general public, it is relatively easy to be widely accepted. With the development of the internet, not only people in various countries have been closely connected, but production networks around the world might also be connected with each other. This article will use data and case studies to clarify how global production networks operate in the development of the cultural industry. By taking the relatively novel point of contact of connection between global production networks and the development of the cultural industry, it summarizes the development models of the film, television and music sectors in the Korean cultural industries. The study found that the development model of the film, television and music industry from the 1990s to the present could be divided into four phases, and most firms are now in the outsourcing and expansion phase. Relying on the huge production networks, these two industries are likely to be improving their popularity and added value through global cooperation.