A Study on the Development of Cultural Policy and ‘Cultural Economic Strategy’ in Japan

남기범,조규훈 사단법인 미래융합기술연구학회 2020 아시아태평양융합연구교류논문지 Vol.6 No.2

The Japanese Government announced the “Cultural Economic Strategy” at the end of 2017 and presented a frame of government cultural policy that approaches culture from an economic perspective. This study analyzes Japan's attempts from the perspective of cultural policy development and comparative cultural policy. In order to compare the cultural policy with historical development, the development of cultural policy through the previous research set the standards and framework for visual comparison. This study analyzed the significance and suggestions of "economic strategy." Based on such comparison, we recognized the concept and importance of culture and analyzed the area of cultural policy, the subject of cultural policy, and the viewpoint of cultural policy. Cultural arts and life culture, cultural democracy, cultural industry and cultural economy, national and international areas as cultural policy, cultural welfare and multi-culture, market and government (central and local government) analysis dimension was set and implication was derived using these standards.

법정책학의 기본문제 ; 문화법정책의 이론과 실제

김창규 ( Chang Kyu Kim ) 한국법정책학회 2014 법과 정책연구 Vol.14 No.3

Culture” is one of the words used in many ways. So the subject and methods of cultural law and policy can vary according to the way “culture” defines. If it defines as artistic activities and works in a narrow sense, the territory of culture would be limited to the genre meaning, and the group related to culture could be limited to the artists as the category of profession. Whereas, if it defines as the entire way of lives in a broad sense, cultural law and policy would cover every sphere of human life. The range of the understanding of culture has been broadened through the definitions of Cultural Heritage in “Cultural Heritage Protection Act”, Culture and Arts and Cultural Industry in “Culture and Arts Promotion Act” and Cultural Industries in “Framework Act on the Promotion of Cultural Industries” until “the Framework Act on Culture” was enacted on December 30 2013. Before 1995 when Cultural Industry Bureau that handled cultural law and policy was newly established in Ministry of Culture, Sports and Tourism, culture was accepted as culture and arts, and from 1995 to 2001 culture was accepted as industry, from 2002 to 2005 culture was accepted as contents. However, the concepts of culture have turned to the overall ways of life since 2006. Therefore, cultural law and policy is public policy which covers legislation, revision, or abolition of laws relating to culture and improvement of related systems. Today world”s major countries have interests in cultural welfare, living culture, and regional culture and they have a tendency to value on the industrial and the economic aspects of culture and arts. Also, the range of cultural law and policy is changing from cultural producer-oriented to cultural consumer-oriented and the range of policy target is being expanded from High culture or Fine arts to cultural industries and Media Art. Since 1990”s in Korea, Cultural welfare policy including improvement of accessibility and educational opportunity has been emphasized. Moreover, the range of cultural law and policy have increasingly a tendency to connect with economy policy, information and communication policy, diplomacy, and education policy and to implement comprehensive policy. For these reasons on December 2013, “the Framework Act on Culture” was enacted under the legislative purpose: to prescribe the rights of nationals and the duties of State and local governments with regard to culture, and to provide for the direction of cultural policy and basic matters for implementation, thereby raising value and statue of culture and contributing to improvement of the quality of lives and the social development of the nation. It means that legislative requirements has arranged for liaison, establishment or efficient implementation of the comprehensive cultural law and policy between cultural policy government departments and others. Furthermore, “the Local Culture Promotion Act” for the realization of cultural decentralization was enacted on January 28 2014 and will be enforced from July 29 2014. These changes need a major alteration in the theory and practice of cultural law and policy in Korea. Accordingly, this paper is analyzing the concepts, range and theoretical background of cultural law and policy, setting future-oriented cultural law and policy”s direction and idea, and establishing and suggesting the structure of cultural laws and the characte

조선 시대 문화정책의 현재적 가치 연구 - 문화적 국정운영의 사례를 중심으로

원향미 한국예술경영학회 2017 예술경영연구 Vol.0 No.41

Today, Korean cultural policy is continuously expanding its scope, but its social ripple effect is insufficient. I first pointed out that an expanded frame of cultural policy should be newly constructed. In other words, cultural policy should now play an expanded role of cultural influence on national affairs as well as the classical role of policy intervention in cultural domain. This paper focuses on the cultural policy of the Joseon Dynasty as a historical example of the expanding role of cultural policy called ‘cultural influence on national policy’. The culture played a dual role in the Chosun Dynasty, which was a cultural nation as an ideal model of the nation. One is a culture as a humanitarian culture to cultivate the members of the neo-Confucian state, and the other is the culture as a state revival that takes the culture as the principle of national operation. Through this, the principle of national operation was expressed as Munchi(the principles of civilian government) and Ye-ak(Ritual & Music). We used Kyong yeon, the academic research and communication system between the king and the bureaucracy in the national administration. National policy research and production institutions and cultural arts institutions were run separately, both actively managed by the state. In the Chosun Dynasty, culture is not a part of the sub-sphere of national affairs as in the present, but a principle of national operation and culture has influenced to the whole process of state administration. Despite the systematic limitations of the monarchy, it is meaningful that the cultural policy of Joseon provided a starting point for the expansionary role of cultural policy, which is the ‘culture - based administration of the nation’ which Korean cultural policy should aim for today. 오늘날 한국 문화정책이 지속적으로 그 영역을 확대하고 있으나 사회적 파급효과가미비한 지점에 대해 필자는 먼저 문화정책의 확대된 프레임을 새로 구성해야 함을지적하였다. 즉, 문화정책이 이제는 문화영역에 대한 정책적 개입이라는 고전적 역할과 더불어 국정에 대한 문화적 영향이라는 확대된 역할까지 수행하여야 한다는것이다. 본 논문에서는 국정에 대한 문화적 영향이라는 문화정책의 확장적 역할에대한 역사적 사례로 조선시대 문화정책에 주목하였다. 국가의 이상적 모델로서 문화국가를 지향했던 조선시대에서 문화는 성리학적 원리에 맞는 국가구성원 양성을위한 ‘인도(人道)로서의 문화’와 국정운영의 원리로 기능하는 ‘입국(立國)으로서의 문화’라는 이중적 역할이 부여되었다. 그래서 국정운영의 원리로 문치(文治)주의와 예악(禮樂)을 천명하였고, 국정운영에 있어서는 경연(經筵)이라는 군신(君臣) 간의 학문연구 및 소통 시스템을 활용하였다. 또한 국가정책 연구 및 생산기관으로 집현전, 홍문관, 규장각 등의 연구기관이 존재하였고 장악원, 도화서 등의 문화예술실연기관도 국가주도로 운영하였다. 지금처럼 문화영역이 국정의 하위 분야에 속한 것이아니라 국가운영의 원칙과 국정운영의 전 과정에 문화가 그 영향력을 행사하였다고볼 수 있다. 왕정(王政)이라는 체제적 한계에도 불구하고 조선의 문화정책은 오늘날한국 문화정책이 지향해야 할 ‘문화에 기반한 국정운영’이라는 문화정책의 확장적역할에 대한 단초를 제공하였다는데 그 의의가 있다.

문화정책의 인구정치학적 전환과 예술가의 정책적 위상

박소현 ( Park So Hyun ) 민족문학사학회·민족문학사연구소 2017 민족문학사연구 Vol.63 No.-

The purpose of this literature is to examine the structural characters and problems of cultural policy bringing about the present `blacklist of the artists` created and managed by Korean government. Korean cultural policy has changed since the late 1980s, by introducing the demographic concept of `the public in general` for the purpose of relating culture with the pan-governmental goal of `improvement of the public`s quality of life. In the process, the concept of `cultural welfare` contributed to change the cultural policy from centering on supporting artists as creators or providers to focusing on the public in general as demanders enjoying arts. This change of central axis in cultural policy resulted in firmly ensuring the national status of cultural policy. However, I think that the status of artists within cultural policy remained as a serious problem in the process of such a great turn. This literature focused on this problem, and critically examined that the `blacklist`, with which Korean government arbitrarily labeled a lot of artists as the left and excluded them from public funding, reached the fundamental problems of cultural policy. To do so, first, I examined that cultural policy in Korea developed itself as a real demographic project by introducing the concept of `cultural welfare.` And then, I intended to reveal the fact that the status of artists has been underestimated in this demographic turn through the case of the late Gu Bon-ju, a well appreciated sculptor within art world, and with the enactment of Artists Welfare Law. Finally, I reconsidered how the `blacklist` uprose as an important cultural policy and worked forcefully on the crux of underestimated status of artists in cultural policy. By doing this, I tried to discuss that the unstable status of artists is the very core of the structural problem in Korean cultural policy, and the `blacklist` trespassed on the problem, deepening the crux of cultural policy and shaking it to its very foundation. Therefore, it will be possible to redesign cultural policy after the `blacklist` only through starting from the ontological argument about artists within cultural policy based on the fundamental reflection.

일본의 문화경제전략에 대한 연구: 문화정책의 변화를 중심으로

남기범 한국비교정부학회 2020 한국비교정부학보 Vol.24 No.4

(Purpose) The Japanese government recognizes that culture will play an important role in revitalizing the stagnant national economy after the East Japan Earthquake. Based on these needs, the Japanese government announced its ‘Cultural Economy Strategy’ in 2018. This study attempted to analyze the implications of the cultural economy strategy in the process of cultural policy development. The purpose of this study is to analyze Japan's cultural and economic strategy in terms of the development of cultural policy and a comparative perspective. (Design/methodology/approach) Through prior research on the historical development of cultural policy and the comparison of cultural policy, the standard and framework for the view of the development of cultural policy and the basis for comparison are set. The significance and implications of the 'Cultural Economy Strategy' were analyzed from the perspective of change and development of cultural policy. These criteria for analysis include the concept and importance of culture, areas and objects of cultural policy, and actors and participants of cultural policy. (Findings) In terms of the concept and significance of culture, it is not limited to culture and art, which is the object of existing cultural policy, but recognizes the importance of the concept more deeply through the expansion of the concept of culture. It is meaningful to expand from culture and art to living culture, cultural industry, from local culture to international cultural fields linked to national brands, to cultural welfare and multicultural symbiosis policies for the creation and enjoyment of culture for the whole people. In addition, in the concept of cultural properties, while maintaining a perspective on the preservation of traditional cultural properties, a balanced interest is paid to the creation of future cultural properties. It recognizes various executive entities and related organizations and organizations according to the expanded cultural concept and policy area. Various participants are working to establish a framework for participation in the policy process. (Research implications or Originality) The exploratory analysis of Japan's Cultural Economic Strategy in this study is judged to be valuable in providing meaningful information in contemplating the direction of cultural policy.

한국의 현 종교지원정책과 문화자본주의

우혜란 사단법인한국교수불자연합회 2022 한국교수불자연합학회지 Vol.28 No.2

This study aims to investigate South Korea's religious policy from an economic viewpoint and, specifically, to explain the current religious policy in the context of the cultural policy and the development of the cultural industry of S. Korea. It is well-known that religious policy is a part of cultural policy de facto, and the prime purpose of cultural policy is to develop, utilize, and commercialize cultural resources to create profits for the sake of the cultural industry. Since we are in an era of cultural capitalism when culture is the main engine of economic growth and in the period of neo-liberalism when the boundary between culture and economy is gradually disappearing, investigating current religious policy in the context of the cultural industry is inevitable. Firstly, this paper scrutinizes precedent research on religious supporting policy in S. Korea and summarizes their main concerns and issues. Secondly, the contents and backgrounds of a series of the government's big projects for religious culture are selected, and some trends and characteristics of S. Korean religious policies are delineated. And lastly, it is confirmed that governments have established religious policy in parallel with the development of the cultural industry in the country, while the religious culture/heritage of Korea intertwins with the national cultural policy and cultural industry (promotion) policy. As a result, Korean religious culture is increasingly absorbed in the economic logic, becoming the object of investment and commodification. 본 연구의 목적은 한국의 현 종교(문화)지원정책을 경제적 관점에서 고찰하는 데에 있으며, 보다 구체적으로는 국가의 종교지원정책을 정부의 문화정책 그리고 문화산업의 발전이라는 맥락에서 설명하는 데 있다. 이는 종교정책이 큰 틀에서 문화정책에 포함되며, 문화정책의 주요 목적이 문화자원을 개발, 활용하고 상품화하여 이윤을 창출하는 문화산업을 육성하는 데 있기 때문이다. 필자가 한국의 현 종교정책을 한국의 문화정책과 문화산업의 맥락에서 살펴보고자 하는 것은 동시대는 문화를 경제성장의 주된 동력으로 간주하여 자본의 적극적인 투자의 대상이 되는 문화자본주의 시대로, 문화가 경제화되고 경제가 문화화되어 문화와 경제의 구분이 사라지는 신자유주의 시대이기 때문이다. 본 논문에서는 우선 한국의 종교지원정책을 다룬 선행연구의 주요 방향과 주장을 살펴보고 그 한계점은 제시하면서, 이를 보완 또는 극복할 수 있는 하나의 접근방법으로 경제적 관점을 제안하였다. 이어서 종교지원사업의 종류와 그 배경을 살펴보고, 근래에 정부가 진행한 비교적 큰 규모의 종교지원사업들을 사례로 현 종교지원정책의 특징과 경향을 도출하고자 하였다. 이를 바탕으로, 한국의 종교지원정책이 한국 문화산업의 발전과 함께 수립ㆍ전개되었으며, 그 결과 한국의 종교문화(유산) 또한 그간의 국가의 문화정책 그리고 문화산업 육성정책과 맞물리면서 경제 논리에 포섭되어 투자ㆍ개발ㆍ활용의 대상이 되어왔음을 확인하였다.

다문화주의와 다문화가족정책: 이념과 정책의 탈구

김혜영 한국여성정책연구원 2014 여성연구 Vol. No.

The aims of this paper is to analyze the gap between multi-culturalism and multi-cultural family policy. To this end, this article delineates the uniqueness of the multi-culturalism in Korea that is different from the one found in the West, and it shows that multi-cultural family policy does not taking into a multi-culturalism in sufficient, based analysis of making process The Support Law for Multi-Cultural Family. Multi-cultural policy represented multi-cultural family policy is not enough to realize the multi-culturalism and does not include valid elements of multi-cultural policy. This is caused by the ‘Korean multi-cultural situation' and ‘approach of the family policy drawn on Familism'. Also, Korean multi-cultural family policy misuse the concept of multi-culturalism without adopting the essence of multi-cultural theory, and we have lost the good opportunity to experiment multi-culturalism. Finally, I suggest the two ways to improve multi-cultural family policy, one is to strengthen the multi-cultural elements and the other is to expand the generousness of family policy. 지구화와 함께 국가의 경계를 넘는 인구가 증가하면서 한국 역시 다양한 변화를 경험하고 있다. 노동이주와 더불어 국제결혼의 급속한 증가는 우리 사회로 하여금‘다인종 다문화사회로의 전환'을 선언케 하였을 뿐만 아니라 이에 대응하는 다양한 법과 제도를 구비하게 만들고 있다. 다문화가족지원법 역시 이러한 정책의 일환의 하나인데, 다문화가족지원법에 근거한 다문화가족정책은 최근 급진전되어온 것이 사실이다. 그러나 다문화가족정책은 주요 지원대상을 한국인과 국제결혼한 외국인, 그리고 이들의 자녀로 제한하고 있으며, 이들에 대한 지원은 주로 가족생활유지와 자녀양육에 초점을 맞추고 있다는 점에서 다문화가족정책에 대한 정당성과 적실성을 둘러싼 다양한 비판이 끈임 없이 제기되고 있다. 이에 본 연구는 한국의 다문화 현실을 짚어보고, 한국 다문화현상이 갖는 특성으로 인해 다문화가족정책에 내포된 가족주의적 요소가 가미되어 있음을 살펴보고 있다. 가족주의와 다문화주의가 뒤얽힌 다문화가족정책으로 인해 다문화정책에 대한 사회적 관심과 정책을 둘러싼 국민적 공감대는 쉽사리 확보할 수 있다는 긍정적 측면이 없지 않다. 그러나 다른 한편, 다문화정책에 내포된 다문화주의적 요소는 기형적 형태의 프로그램으로 변질됨으로써 다문화개념의 혼용과 오용을 초래하고, 장기적으로는 정책의 실효성을 낮추는 결과를 초래할 것으로 예측된다. 더욱이 부계중심적인 가족주의색채가 강한 다문화가족정책은 향후 국제결혼의 감소와 노동이주의 증가가 예견된다는 점에서 정책패러다임의 전환기에 직면해있으며, 향후 정책전환의 방향과 과제를 제안하고 있다.

포스트 코로나19 시대에 있어서 문화정책 방향의 모색

권영길 한국엔터테인먼트산업학회 2023 한국엔터테인먼트산업학회논문지 Vol.17 No.2

The COVID-19 Pandemic limited daily life activities in all areas of society due to quarantine measures of social distancing. The global world defines the post COVID-19 era as the era of New Normal. Even in the New Normal era, culture continues without stopping. Accordingly, cultural policy should also seek the direction of cultural policy suitable for this situation. The purpose of this study is to search the direction of Korea's cultural policy in the post COVID-19 era. The research results can be summarized into the followings: Firstly, the basic framework of cultural policy should be established. Korean cultural policies have changed according to changes in the government, but it is necessary to establish a basic framework for their contents to promote the continuous development of cultural policies. Secondly, it is necessary to support technology development and digital platform construction for digital transformation in line with the Fourth Industrial Revolution. Thirdly, cultural policies should be promoted centering on consumers. It is necessary to grasp the reality of the downturn in the cultural sector caused by the COVID-19 pandemic and to provide efficient policy support. Fourthly, welfare support for culture and artists should be strengthened. And lastly, we suggest a four-phase model for the cutural policy intervention according to two dimensions of short-long term period and readiness-potentiality.

디지털 뉴딜 정책에 부응한 전남 진도군의 문화관광 정책추진 방향과 과제연구

이웅규 ( Lee Woong-kyu ),구정대 ( Goo Jung-dae ) 한국도서(섬)학회 2021 한국도서연구 Vol.33 No.1

This study was started from the perspective that the cultural tourism policy of Jindo-gun, Jeollanam-do should reflect changes in macro and micro trends as the issues of leisure or tourism are approached not as a matter of travel but as a matter of quality of life. This study suggested the direction of various cultural tourism policies in order to respond to the changes in tourism behavior of tourists according to the rapidly changing tourism trends in the era of the 4th industrial revolution. In particular, the aim was to suggest the direction and tasks of cultural tourism policy that Jindo-gun, Jeollanam-do, in response to the government's digital new deal policy. Due to the era of the 4th industrial revolution brought about by the rapid development of information communication technology(ICT), the Internet and SNS(Social Network Service) are being used in almost all fields including politics, economy, society, culture, and environment. It means that the era of digital culture trade, in which tangible and intangible contents are traded internationally, has begun. In particular, the spread of a variety of tourism platforms has made the global tourism market more efficient and transparent, and is leading the expansion of tourist participation and exchange. This is a major factor in rapidly growing the international and domestic tourism markets. In Korea, a lifestyle that emphasizes the quality of life rather than work is spreading, improving the income and status of women, increasing the number of single-person households, expanding individualistic tendencies, and placing emphasis on quality of life over work. For this reason, convergence, mobile, and New 3S(Safe, Sustainable, Social), which are the basic values of tourism, are emerging as key trends. Therefore, this study proposed six directions and tasks for the promotion of cultural tourism policy in Jindo-gun, Jeollanam-do, in response to recent trend changes and the government's digital new deal policy, based on the results of previous studies and big data analysis. First, it is to provide financial support to develop excellent marine history, culture and tourism contents. Second, the promotion policy of Jindo-gun related tourism products is actively promoted. Third, it is the organizational structure, manpower recruitment, and manpower training policy to be in charge of the Jindo-gun cultural tourism policy. Fourth, it is important to secure sustainable and stable financial resources for the Jindo-gun cultural tourism policy. Fifth, it is the provision of a legal mechanism to secure the stability of the promotion of Jindo-gun cultural tourism policy. Sixth, it was proposed to expand the scope of project support for the Jindo-gun cultural tourism policy.

독일 문화정책의 이상적 기대와 실제 현실에 대한 개관

김동조 중앙대학교 외국학연구소 2020 외국학연구 Vol.- No.53

Up until the 1970s, Germany's cultural policy stood primarily for "cultural care": for example, the entertainment of theaters, museums or opera houses. With the "New Cultural Policy", participation became the focus. Leading goals such as "cultural democracy", "civil rights culture" and "culture for all" rely on the participation of all citizens. Cultural policy as social policy had to get rid of the elitist - an expanded concept of culture no longer only to stand for literature and art, but also for lifestyles, values ​​and beliefs. At local and state level, cultural policy is mostly a distribution policy. No urban stage in the Federal Republic could hold its own on the "market". Accordingly, more culture means more costs. At the same time, art thrives on the ideal of being able to develop free of interests. In addition to visitor orientation, the demand today includes, among other things, a new organizational culture for public cultural companies, the consideration of the actors as "knowledge employees", the development of multidimensional cultural financing or the formation of creative alliances. That is all correct and necessary, but it also remains to be warned against pushing too hard an adaptation of market action, too harshly throwing overboard the principles of a cultural area that is also cumbersome and mortgage-laden. Cultural management and cultural policy remain related, a relationship that has to be balanced again and again. The scarcity of public funds also leads to concrete problems of cultural funding: the majority of the funds are tied up for institutions such as municipal museums; these often have too tight administrative budgets and lose innovative strength and scientific value; More and more third-party funders such as foundations, but now also the federal government, are increasingly raising expectations regarding the content of local cultural businesses, which are forcing them into a conflict between legal entities and funding backdrop.