스크린쿼터 지키기의 문화적 의미 = In the Millenium's Infomation Age "What Cultural Meaning by Keeping Screen Quota"

다국어 초록 (Multilingual Abstract)

The pursuing of the meaning of keeping the screen quota leads to the new understanding of the concept of Korean cinematic culture itself. Which is, 'to maintain the screen quota.' equals to preserve the Korean cinema, and the discussion of the 'cultural meaning' will naturally leads to the discussion of the identity of the Korean culture.
1. The screen quota as a protection of Korean cinema.
The Korean goverment had been carring out some cultural policies to safeguard and to foster the Korean cinema. There were for example the upbringing policy of outstanding Korean cinema producers and exporters(1958), and the previledged treatment by the Ministry of culture and education both of the participators of the foreign film festival and of the import and distribution company of the foreign films.
Following that policy, 5.16 military goverment established a screen quota system which forced the movie theatre-owner to present home cinema for a certain period of the year(1961).
Since that, after four time renovations, the screen quota law prescribes that the movie theatre located in the cities of larger than 300,000 population should present Korean cinemas for more than 40 per cent of the whole working days(146) of the year.
These days, however, the original intention of screen quota seems to be becoming vague. Instead, a tension is formed between the producer who insists on the observation of screen quota and the owner of movie theatre who prefers the reduction of screen quota.
2. The logic of film industry and the logic of culture.
The Hollywood film industry which grasps 80 per cent of world cinema market prospels the free trade of the cultural product such as film, video, disk, c.d. to monopolize the world cultural market. In this sense, the screen quota could be the biggest obstacle for the monopolism of the U.S.A.. All the countries of the world that are conscious of the cultural influence of cinema agree with the operation of the screen quota and they treat screen quota an exception of the free contract of GATT/WTO & OECD.
However the Korean board of trade seems to give up screen quota in the negotiation with U.S.A. They see film industry not with cultural logic but with a industrial point of view. Since Cinema portrays Korean spirit and mind, it cannot be treated as a common industrial product.
3. The world media industry and cultrual imperialism.
As I mentioned above, to keep the Korean cinema is to preserve the Korean identity.
The powerful coutries armed with new media aimes at new mental enterprize of the future. By substituing the shift of power with the shift of culture, these countries pursue the maximum of interest. The aim of the cultural imperialism is to conquer the 'brain(the central contorl system)' of the global-body. The infiltration of the American image culture could be more dangerous in that it could destroy the identity of the Korean culture, than it could destroy the producing system of Korean cinema.
Now a days the concept of 'globalization' is supposed to concern the meaningful future of all the global families. However some countries put emphasis upon material-oriented 'globalization' and insists on free trade of the cultural product. The globalization should concern the identity and traditional values of every country.

목차 (Table of Contents)

• 1. 여는 말
• 2. 몸말
• 가. 한국영화 보호책으로서 스크린퀘터제
• 나. 영화산업논리와 영화문화논리
• 다. 세계미디어산업과 신문화제국주의
• 3. 맺음 말
• 참고문헌
• ABSTRACT