한중 문화산업의 상생발전을 위한 협력방안 연구 -방송영상산업을 중심으로

Abstract

In the 21st century cultural industries have become a strategic area. They use the content of the culture and society of a country through creative technologies to recreate a new industry whose trends and characteristics are representative, risky, highly profitable with added-value and a forward-looking vision. The Korean cultural industries from the 1972 law on the renaissance of arts and culture became a strategic field of policies. Since the IMF economic crisis of 1998, the Kim Tae Chong government paid special attention to the development of the cultural industries and turn them into key industries so that cultural training and education would shape the new generations. The cultural industries therefore spread into all other fields of activities and became a way of overcoming economic difficulties. In Asia, the Korean wave or Hallyu not only improved the image of Korea abroad but also contributed to economic benefits. The following governments kept that habit of placing cultural industries and education at the center of their policies. In line with recent trends, China resorted to culture as an efficient means of developing the economy and maintaining a socialist system and propaganda. Consequently, the Chinese government massively invested in that field. In the 2011 17th Communist Party Meeting, China decided to deeply reform the cultural field and stimulate the development and wealth of a socialist culture and produced a document of 17000 words about reforming the cultural industries. This is the first time in the history of the communist party that the construction of culture became a historical matter of discussion. It was agreed that by 2015 culture should constitute 5% of China’s GDP. In other words, cultural matters were turned into a strategic area. As regards the structure of industries, 65% of Korea’s GDP is based on its exportations. The semiconductors, computers and wireless equipments together with cultural industries are part and parcel of the main exporting industries in the 21st century and need to constantly penetrate the overseas markets. As for the economic aspect, Korea and China, in the cultural field, are considered to have a synergetic cooperation. Korea has a cultural market dynamic, a well-trained personnel, and the best manufacturing skills in Asia with the capacity of development. China’s overall cultural industries stand at a lower position but China has a huge territory and a large-scale potential for improvement, financial resources, and a rich historical background. In this line of thought, it is agreed that China and Korea have complementary characteristics in the field of cultural industries, geographical proximity and a common Confucian heritage. This facilitates cultural and emotional affinities. As a result, the cultural discount rate is reduced and this is a factor of success in the Sino-Korean cooperation. The communication in the cultural industries field became official since the 1992 encounter between China and Korea. From 2000 they started official cooperation and development in diversified areas of activities. So cultural activities have become among the most dynamic areas of cooperation and also created special links between the Korean and Chinese people, especially with dramas, variety shows, movies. In the field of media and live broadcast, from 1992 to 2000, Korea exported to China in a one-way trend. But nowadays it has changed into a win-win, two-ways cooperation, creating a more balanced paradigm. First of all, after the rise of China, the interest of the Chinese government in cultural industries, the ability of creating and manufacturing cultural products improved in China. Secondly, in order to protect its industries, the Chinese government limited the importations from abroad. Through mutual cooperation, Korea and China can avoid these inequities and solve unbalanced partnership difficulties. Thirdly, having experimented more than 20 years of cooperation, Korea and China can smooth out cultural differences and according to the Chinese realities, Korea can adjust its strategies in the field of culture. This study will focus on dramas, variety shows and movies and split the analysis in three steps: 1992-2000 is the foundation step, 2001-2013 is the changing step, 2014 until now being a fully-comprehensive cooperation step. Moreover, this study will select two cultural products representative of the Sino-Korean cooperation: the first one is the variety show “Dady, where are you going?”and the second one is the movie commonly made by Korea and China “ Going back to our twenties“. Through this analysis, five cooperation proposals are put forward: 1. The two countries have to formulate win-win strategies and policies 2. According to the different characteristics of dramas, variety shows and movies, appropriate policies have to be designed 3. Korean intellectuals should pay careful attention to Chinese audience 4. According to Chinese content resources, Korea and China should create multinational brands 5. With a strong cultural basis, Korea and China should be able to create a self-sufficient cultural environment