2000년대 한국영화의 국제 교류에 관한 연구 -국내와 해외의 국제영화제와 영화의 한류에 관하여- = International Exchange of South Korean Films in the 2000s －Domestic and Overseas International Film Festivals－

다국어 초록 (Multilingual Abstract)

This study looks into the international exchange of South Korean films in the 2000s. First, it will look into the trend of holding the domestic international film festivals and sum up Korean directors who have been awarded in the overseas international film festivals. Also, it will look into whether there is the Korean wave (Hallyu) in films abroad and what roles it plays if there is. Even if the invigoration of the domestic international film festivals in the 2000s did not draw a single result, it is clear that it has led the overall invigoration of the domestic film industry. It provided the audience with chances to watch various quality films and places of interchange of film makers. Also, it has helped develop the art of the cinema and local cultural industry and promote cultural diversity. Thanks to these merits, provincial governments have made efforts to host a film festival since 1995. For a decade after that, international film festivals became saturated, and film festivals started to look back on themselves in the late 2000s. Film festivals except the Busan International Film Festival are at a standstill, but the fundamental merits of an international film festival still persist, since it helps revitalize the local economy for the venue and becomes ‘a model of the reinforcement of local culture’ beyond a simple tourist product. Korean films began to achieve good results in overseas international film festivals in the 2000s. Hong Sang-soo, Kim Ki-duk, Lee Chang-dong, Park Chan- wook and Bong Joon-ho were praised for bringing about ‘nouvelle vague of Korean films’ in foreign countries. They received recognition through major overseas international film festivals. Individual directors revealed South Korea’s singularities through an issue of space or substituted issues of time or synchronic problems in society for that. In addition, it should be noted that their activities, which are called ‘post-Korean nouvelle vague’ in the domestic academia, are mentioned removing ‘post-’in other countries. The roles of Korean films as ‘a Hallyu content’ of various cultural contents are important as well. The Korean film craze in Asia brought about by Shiri completed in 1999 has remained after 2000. My Sassy Girl (Yeopgijeogin Geunyeo) is the representative product of Hallyu contents. However, it is regretful that this new cultural market cannot continuously show its power. Also, the zeal for the cinematic Hallyu is, in fact, slight in the U.S. or Europe. Therefore, in the future, Korean films should distinguish themselves with ‘diversity’ instead of specialized cultural products as a weapon in the world market.

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43 민지은, "2000년 이후, 프랑스 영화 시장에서의 한국영화현황 - 프랑스 영화계에서의 한국영화위상과 대비된 상업시장에서의 대중성 결여" 한국프랑스학논집 76 : 1 ~ 30, 2011