문화산업의 경쟁력 강화를 위한 기업가정신 활성화에 관한 연구

구문모(Goo Moon-Mo) 한국문화산업학회 2008 문화산업연구 Vol.8 No.1

This paper deals with the political implications related to entrepreneurship in cultural industry as one of the schemes to improve the industry in Korea, which has got a poor economic performance. Some of the elements that affects demands and supplies of entrepreneurship in the market are studied to evaluate the political environment around the Korean cultural industry. Considering the policies implemented to the cultural industry for the past 10 years, they have helped domestic firms and markets with lots of institutional tools and public funds. However, most policies shows no distinction separate cultural industry from other industries based on the structural properties of cultural industry. This study emphasizes the policies necessary to strengthen the competitiveness of micro production enterprises which have shown dynamic growth in employment and the number of firms in the past. Nextly, the policy that may activate the cultural entrepreneurship among the Korean firms for their future competitiveness would be needed. Three issues may be provided on demand factors for entrepreneurship in the industry: intellectual property rights, cultural distribution environment, public subsidy. For supply factors, the education programs in universities and others, the retraining programs may be established for preliminary producers and the employers in creative firms. This paper deals with the political implications related to entrepreneurship in cultural industry as one of the schemes to improve the industry in Korea, which has got a poor economic performance. Some of the elements that affects demands and supplies of entrepreneurship in the market are studied to evaluate the political environment around the Korean cultural industry. Considering the policies implemented to the cultural industry for the past 10 years, they have helped domestic firms and markets with lots of institutional tools and public funds. However, most policies shows no distinction separate cultural industry from other industries based on the structural properties of cultural industry. This study emphasizes the policies necessary to strengthen the competitiveness of micro production enterprises which have shown dynamic growth in employment and the number of firms in the past. Nextly, the policy that may activate the cultural entrepreneurship among the Korean firms for their future competitiveness would be needed. Three issues may be provided on demand factors for entrepreneurship in the industry: intellectual property rights, cultural distribution environment, public subsidy. For supply factors, the education programs in universities and others, the retraining programs may be established for preliminary producers and the employers in creative firms.

남북한의 문화산업 협력을 위한 정책 연구

주민욱,이지훈 북한연구소 2023 북한학보 Vol.48 No.2

As countries around the world enter the 4th industry, education methods, industrial fields, and technologies are developing at a surprising level unlike in the past. Among these, the cultural industry, with technological support, is making a significant contribution to the development of various sub-industrial fields such as artificial intelligence, virtual space (advanced to AR, VR, MR, and XR), holograms, 3D graphics, and 4-dimensional immersion. Accordingly, the government is further developing and investing in the cultural industry as a high value-added industry for the country. Therefore, the cultural industry is showing high growth every year. However, South Korea is facing many difficulties in discovering and developing content due to the lack of cultural archetypes and limitations in creativity. Accordingly, North Korea, which is closest to South Korea and has ethnic homogeneity, is the country with which we must cooperate and exchange for the development of the cultural industry. Accordingly, this study focuses on ways to promote cultural exchange between North and South Korea. In particular, we aim to establish a framework for the development of the cultural industries of South and North Korea by suggesting policy directions that can be established by focusing on cooperation, exchange, and Korean national consciousness rather than the existing cultural exchange. Therefore, the implications of this study are as follows. First, the domestic cultural industry's ICT technology is so high that it can be compared to many countries around the world. However, rather than being new, cultural archetypes, content creation, and ideas are produced and reflected by transforming existing content into OSMU or other forms. However, compared to this, North Korea has many cultural archetypes, and its creativity stands out in many fields. Accordingly, if North and South Korea complement each other's shortcomings through exchanges, they will be able to take a step forward in becoming a cultural industry powerhouse. Second, for cultural cooperation between North and South Korea, exchanges must occur through various methods and routes. However, depending on the tone of the South Korean president's attempt to lead the situation between North and South Korea, exchanges with North Korea are subject to significant ups and downs of cooperation and conflict. Therefore, even if there is a change in government, various attempts seem necessary to ensure that continuous exchanges between North and South Korea can occur under the consciousness of being Korean. Third, South Korea's economic dependence on North Korea is very low. In comparison, North Korea's economic dependence on South Korea is very high. In particular, it appears that North Korea's economic sanctions are difficult for North Korea to handle due to cooperation with various powers around the world. Therefore, it is necessary for North Korea to first select and present industries that can provide economic benefits with a gesture of reconciliation rather than armed protests and pressure. In particular, in the case of the cultural industry compared to other industries, North Korea has many cultural sources and a high level of creativity, so if we look forward to economic profits based on this, we will be able to find sufficient economic cooperation with South Korea. Therefore, if North Korea pursues cultural exchanges and cooperation with South Korea first, rather than South Korea doing anything first, it is likely to bring better economic benefits than it does now. Lastly, as North Korea's power is inherited, the cultural industry is being used as their idol and as a form of power inheritance. However, North Korean people are seeing, listening to, and learning a variety of content from around the world due to exchanges with China and the use of smartphones in large cities. Accordingly, people will increasingly show a tendency to distrust the idolization of North Korea in the fu... 세계 국가들이 4차 산업시대로 접어들면서 교육방식, 산업분야, 기술 등은 과거와는 다르게 놀라운 수준으로 발전하고 있다. 이 중 문화산업은 기술력이 지원되면서 인공지능, 가상공간(AR, VR, MR, XR까지 발전), 홀로그램, 3D 그래픽, 4차원적 체감형 등 다양한 세분 산업분야의 발전에 지대한 공헌을 하고 있다. 이에 정부는 문화산업을 국가의고부가가치 산업으로 더욱 발전시키고 투자하고 있다. 따라서 문화산업은 매년 높은 성장세를 보이고 있다. 하지만 남한은 문화원형의 부족함과 창의성의 한계로 인해 컨텐츠 발굴과 개발에 많은 어려움을 겪고있다. 이에 남한과 가장 가깝고, 민족의 동질성을 가지고 있는 북한이야말로 문화산업 발전을 위해 우리가 함께 하고 교류해야 할 대상국가이다. 이에 본 연구에서는 남북한의 문화교류 증진을 위한 방안에 초점을두고 있다. 특히 기존의 퍼주기식 문화교류보다는 협력과 교류, 한민족의식이라는 부분에 주안점을 두어 남북한이 구축할 수 있는 정책방향을 제시함으로써 남북한 문화산업의 발전에 틀을 세우고자 한다. 본 연구의 시사점은 다음과 같다. 첫째, 국내 문화산업은 세계 여러 나라와 견줄 수 있을 만큼 ICT기술은 매우 높다. 하지만 문화원형, 콘텐츠 창작, 아이디어 등은 새롭기 보다는 기존의 콘텐츠를 OSMU나 여러 형태로 변형하여 제작 및 반영하는 형태를 보이고 있다. 하지만 이에 비해 북한은 많은 문화원형을 가지고 있고, 창작성부분도 여러 분야에서 두각을 보이고 있다. 이에 남북한의 교류를 통해 서로 부족한 부분을 보완해 준다면 문화산업의 강대국으로 나아갈 수 있을 것이다. 둘째, 남북한의 문화협력을 위해서는 다양한 방법과 루트를 통해 교류가 이루어져야 한다. 하지만 남한의 대통령이 어떤 기조를 바탕으로남북한 정세를 이끌어가려는가에 따라 북한과의 교류에는 협력 및 갈등의 굴곡이 매우 크다. 따라서 정권의 변화가 발생하더라도 한민족이라는 의식 하에 지속적인 남북한 교류가 발생할 수 있도록 다양한 시도가 필요해 보인다. 셋째, 남한은 북한에 대한 경제적 의존도는 매우 낮다. 이에 비해 북한은 남한의 경제적 의존도는 매우 높다. 특히 세계 여러 열강들과의협력에 의해 북한의 경제제제는 북한으로 감당하기 힘든 부분이 충분히 보인다. 따라서 북한이 무력적인 시위와 압박보다는 화해의 제스처와 함께 경제적 이익이 될 수 있는 산업을 먼저 선택하여 제시하는 것이 필요하다. 특히 타 산업보다 문화산업인 경우 북한이 많은 문화원천을 가지고 있고, 창작의 수준이 높기 때문에 이를 기반으로 한 경제적이익을 내다본다면 남한과 충분한 경제협력의 모습을 찾을 수 있을 것이다. 따라서 남한이 무엇을 먼저 해주기보다는 북한이 먼저 남한과 문화교류 및 협력을 추진한다면 지금보다 더 나은 경제 이익을 가져갈 것으로 보인다. 마지막으로 북한의 권력이 세습되면서 문화산업을 우상화와 권력세습의 형태로 사용하고 있다. 하지만 북한 인민들은 중국과의 교류, 대도시 중심의 스마트폰 사용으로 세계의 컨텐츠를 다양하게 보고, 듣고, 학습하고 있다. 이에 점점 인민들은 북한의 우상화를 향후에는 믿지 않는 경향을 보일 것이다. 따라서 문화를 정치라는 목표 보다는 대중이라는 관점으로 정책의 방향을 바꾸고 서서히 문화의 세계화 문을 조금씩 열어 간다면 다른 국가들과 충분히 문화교류가 이루어질 것 ...

중국의 문화산업정책의 변천과정과 그 유형 분석

유봉구 ( Bong-gu Yoo ) 한국외국어대학교 중국연구소 2016 中國硏究 Vol.67 No.-

This study set out to examine the changing process of cultural Industry policies by the Chinese Communist Party since 1978, looking into how they supported or controlled cultural Industry and how the policy types of cultural Industry were categorized. It took almost 20 years for the Chinese government to recognize the cultural industry officially in 2000 after it started to discuss the legitimacy and legality of cultural market under the socialist market economy system in 1978. The process underwent five stages including the cultural Industry policies before reform and opening(1949~1978), the cultural Industry policies during the formation of cultural market(1978~1988), the cultural Industry policies during the expansion of cultural market(1988~2002), the cultural Industry policies during the rapid growth of cultural industry(2003~2008), and the cultural Industry policies during the settlement of cultural industry(2009~the present). The Chinese Communist Party used to be passive about culture and cultural industry in the early days of reform and turned to the direction of actively cultivating the cultural market to resist foreign cultural products expected to be introduced in the nation in large volumes after China joined TWO in 2001. The shift resulted in the rapid expansion and growth of cultural market. The marketization and industrialization of culture produced, introduced, and spread a variety of ideologies throughout the society. There has been a flow of cultural Industry policies announced by the Chinese government from the early policies of setting developmental goals for the cultural industry to the promotion of cultural industry as the driving force behind the growth of national economy and a part of strategic national industries. The content of cultural Industry policies has increasingly diverse and rich including the reform of cultural system, intensification of reform, financial supports for the cultural industry, cultivation of cultural Industry talents, legal protection of copyright, shift toward the management system of cultural enterprises, and development of specialized cultural Industry. Based on the content, the basic types of cultural Industry policies can be divided into administrative, economic, educational, and overseas policies.

디지털시대 문화산업의 수출 활성화 방안

이강빈(Lee Kang-Bin) 한국문화산업학회 2002 문화산업연구 Vol.2 No.2

This paper examines the current status and government policy for cultural industry in Korea and major countries, and to research issues and countermeasures in international trade negotiation concerning cultural industry. Also this paper analyzes factors of obstacle to the export by cultural industry and suggest activation measures of its export in Korea. The total scale of Korean market of six cultural industries such as broadcasting, film, animation, character, game and disk amounts to 12 trillion wons in 2001. Korean government has made plans for the encouragement of cultural industry such as ‘five years plan for the development of cultual industry’ in 1999, ‘culture vision 21’ in 2000, and ‘contents Korea vision 21’ in 2001. The total scale of world market of five cultural industries such as publishing, film, broadcasting, disk and game amounts to 719 billion dollars in 2000. The US government adopts the policy of liberalization for cultural industry, while the governments of Japan, UK and France adopt the policy of support for cultural industry. There are arguments on cultural exeception in Urguay Round GATS, OECD Mutilateral Agreement on Investment, WTO New Round and Bilateral Investment Treaty. Screen quota is a big issue in Korea-US Bilateral Investment Treaty. The obstacle factors that Korean cultural industry suffers upon going abroad are unlawful reproduction, high import duty and expences for participating in the exhibition or festival held in foreign countries. In order to activate the export by cultural industry in Korea, the following measures should be taken: the development of strategic cultural contents for export, the strengthening of development ability of cultural contents, the construction of the infrastructure of digital cultural contents, the digitalization and internationalization of production and distribution, the settlement of problem relating to copyright, the maintenance of related laws and system, the expansion of promotion fund for cultural industry, the training of expert human power, the active confrontation to the international commerce issue, and the strengthening of cooperation between cultural industries in Northeast Asia. In conclusion, the competitive power of culture should be enhanced for the activation of export by cultural industry in Korea, while the government has to enhance the upbringing and supporting policy for the encouragement of digital cultural contents. This paper examines the current status and government policy for cultural industry in Korea and major countries, and to research issues and countermeasures in international trade negotiation concerning cultural industry. Also this paper analyzes factors of obstacle to the export by cultural industry and suggest activation measures of its export in Korea. The total scale of Korean market of six cultural industries such as broadcasting, film, animation, character, game and disk amounts to 12 trillion wons in 2001. Korean government has made plans for the encouragement of cultural industry such as ‘five years plan for the development of cultual industry’ in 1999, ‘culture vision 21’ in 2000, and ‘contents Korea vision 21’ in 2001. The total scale of world market of five cultural industries such as publishing, film, broadcasting, disk and game amounts to 719 billion dollars in 2000. The US government adopts the policy of liberalization for cultural industry, while the governments of Japan, UK and France adopt the policy of support for cultural industry. There are arguments on cultural exeception in Urguay Round GATS, OECD Mutilateral Agreement on Investment, WTO New Round and Bilateral Investment Treaty. Screen quota is a big issue in Korea-US Bilateral Investment Treaty. The obstacle factors that Korean cultural industry suffers upon going abroad are unlawful reproduction, high import duty and expences for participating in the exhibition or festival held in foreign countries. In order to activate the export by cultural industry in Korea, the following measures should be taken: the development of strategic cultural contents for export, the strengthening of development ability of cultural contents, the construction of the infrastructure of digital cultural contents, the digitalization and internationalization of production and distribution, the settlement of problem relating to copyright, the maintenance of related laws and system, the expansion of promotion fund for cultural industry, the training of expert human power, the active confrontation to the international commerce issue, and the strengthening of cooperation between cultural industries in Northeast Asia. In conclusion, the competitive power of culture should be enhanced for the activation of export by cultural industry in Korea, while the government has to enhance the upbringing and supporting policy for the encouragement of digital cultural contents.

문화산업 진흥법제의 개선방안 – 문화산업진흥 기본법 및 콘텐츠산업 진흥법의 정합성을 중심으로 –

김윤명 홍익대학교 법학연구소 2023 홍익법학 Vol.24 No.4

이 글은 문화산업 및 콘텐츠산업 관련 법제의 정합성과 관련 개별법과의 관계를 고려한 법제의 개정방안을 제시하는 것을 주된 목적으로 한다. 무엇보다, 문화산업진흥 기본법은 문화산업의 진흥을 위한 법률이지만, 콘텐츠 관련 규정또한 적지 않다. 이러한 이유로 콘텐츠산업 진흥법의 성격이 콘텐츠관련 기본법적 성질을 갖기는 하나 문화산업진흥 기본법의 하위 법률로서 이해되기 때문에 양 법과의 관계를 명확하게 정리하는 것도 의미가 있다. 나아가, 콘텐츠산업 진흥법의 명칭을 ‘콘텐츠산업 기본법’으로 개정하는 것도 고려할 필요가 있다. 무엇보다, 문화산업진흥 기본법의 콘텐츠 관련 규정이 중복되기 때문이다. 문화산업진흥 기본법에서는 문화콘텐츠, 디지털문화콘텐츠 및 멀티미디어문화콘텐츠 등 다양한 유형의 콘텐츠가 정의되어있다. 그렇지만, 다양한 콘텐츠 관련 정의를 각각 별도로 유형화하면서 개별적으로 정의하는 것이 어떤 의미를 갖는지 의문이다. 콘텐츠 자체가 디지털화된 상태를 말하거나 목적에 따라 문화콘텐츠, 교육콘텐츠, 산업콘텐츠 등 다양하게 불리워질 수 있기 때문이다. 또한, 문화콘텐츠는 디지털화된 것이나 그렇지 않은 것이나 달리 볼 것은 아니라는 점도 마찬가지다. 더욱이, 콘텐츠가 다양한 미디어의 결합적 속성을 갖는다는 점에서 멀티미디어 형태가 아닌 콘텐츠를 상상하기도 어렵다. 결국, 콘텐츠 관련 정의는 콘텐츠의 유형화 내지 문화체육관광부 소관 콘텐츠의 범위를 예시적으로 나열한 것으로 볼 수 있다. 이러한 정책적 의도가 담겨있다면 콘텐츠산업 진흥법이 콘텐츠 관련 산업의 기본법적인 역할을 기대할 수 있다는 점에서 콘텐츠 관련 규정을 콘텐츠산업 진흥법으로 옮기는 것이 합당한 입법방안이 될 것이다. 기본적으로 문화산업진흥 기본법과 콘텐츠산업 진흥법의 개정방안을 제시하였으나 개별적인 콘텐츠산업 법제가 상당수 존재하기 때문에 이들 법제와의 중복성 및 정합성을 위한 개정방안도 마련하는 것이 필요하다. 기계적이고 기능적인 조정이 아닌 실질적으로 산업진흥을 위한 규정을 명확히 하고, 산업규제적 속성들은 정리하여야 한다. 또한, AI(인공지능) 환경에서 문화의 창작이슈도 제기되고 있기 때문에 ‘문화산업 법제정비단’의 구성 및 운영을 제안하였다. The main purpose of this paper is to propose a revision plan for the cultural industry and content industry related laws, considering the consistency of the laws and the relationship with related individual laws. First of all, the Cultural Industries Promotion Act is a law for the promotion of cultural industries, but there are also a number of content-related regulations. For this reason, although the Content Industry Promotion Act has the nature of a basic law related to content, it is understood as a subordinate law to the Cultural Industries Promotion Act, so it is meaningful to clarify the relationship between the two laws. Furthermore, it is necessary to consider revising the name of the Content Industry Promotion Act to the Content Industry Basic Act. To this end, we first conducted a literature review on the Cultural Industries Promotion Act and the Content Industry Promotion Act. First of all, there is an overlap in the content-related provisions of the Cultural Industries Promotion Act and the Content Industry Promotion Act. The Cultural Industries Promotion Act defines various types of content, including cultural content, digital cultural content, and multimedia cultural content. However, it is questionable whether it is meaningful to define various content-related definitions while categorizing them separately. This is because the content itself can be referred to as cultural content, educational content, industrial content, etc. depending on the state of digitization or purpose. It is also true that cultural content is not the same as digitized or non-digitized content. Furthermore, it is difficult to imagine content that is not in multimedia form, as it has the combined properties of various media. In the end, the definition of content can be seen as a typology of content or an illustrative list of the scope of content under the Ministry of Culture, Sports and Tourism's jurisdiction. If this policy intention is contained, it would be a reasonable legislative measure to move the content-related regulations to the Content Industry Promotion Act, as the Content Industry Promotion Act can be expected to serve as the basic law for content-related industries. Basically, I have proposed a revision plan for the Cultural Industries Promotion Act and the Content Industry Promotion Act, but since there are quite a few individual content industry laws, it is necessary to prepare a revision plan for redundancy and consistency with these laws. It is necessary to clarify the regulations for practical industry promotion and organize the regulatory attributes of the industry, rather than making mechanical and functional adjustments. In addition, since the issue of cultural creation in the AI(artificial intelligence) environment is also being raised, I would like to propose the formation and operation of the ‘Cultural Industry Legislation Improvement TF’.

문화산업의 법률적 정의 및 개념 고찰

김시범 인문콘텐츠학회 2018 인문콘텐츠 Vol.0 No.48

Korean Cultural Contents Industry has been growing faster than the other Korean industries for last two decades. But, the conception of ‘Cultural Contents Industry’ is not clearly defined yet. This paper studies the conceptions of ‘Cultural Industries’ and ‘Content Industry’ as well as ‘Culture and Arts’, ‘Cultural Products’ and ‘Content’ which have been defined at Korean legal systems including 「Culture and Arts Promotion Act」, 「Framework Act on the Promotion of Cultural Industries」 and 「Content Industry Promotion Act」. This paper reviews the conception changes of the legal terms from 1995 when the ‘Cultural Industry’ was firstly defined at 「Culture and Arts Promotion Act」 and compare those legal terms with other acts which have been amended frequently. The industry value chain could be divided by four stages ; planning & creation stage, business development & production stage, practical utilizing & distribution stage, possession & consumption stage. The industry object is tangible or intangible goods of materials or information, such as, codes, letters, diagrams, colors, voices, sound, images or videos and their combinations which create the economic value added with cultural elements, such as, artistic value, originality, entertainment, refreshment, and popularity. The industry field covers publishing with literature & linguistics, printing & periodicals, cartoons, music with Korean classical music, movies with video materials, performance with dance, festivals, fine arts with characters, design advertising, broadcasting pictures with drama & animation and games. There are tangible industry fields including architecture, cultural properties, artworks, craftworks, costumes, sculpture, ornaments,props, household items and digital contents industry field, such as, edutainment, mobile cultural content, digital cultural content, user-created cultural content and multimedia cultural content. Also, cultural space of exhibitions, expositions, sample fairs, photographs, popular culture and art industry, entertainments are included. 우리나라 문화산업은 빠르게 성장하고 있지만, 아직 그 개념이 명확하게 정립되지못하였다. 이 글에서는 「문화예술진흥법」, 「문화산업진흥기본법」, 「콘텐츠산업진흥법」, 「콘텐츠산업 특수분류」 등과 같은 법제도상에 정의되고 있는 ‘문화예술’, ‘문화상품’, ‘콘텐츠’, ‘문화산업’, ‘콘텐츠산업’ 등의 개념을 살펴보았다. ‘문화산업’이법에서 정의된 1995년부터 법제도의 신규 제정 및 개정을 통해 그 개념이 어떻게변화되었는지를 비교분석하였다. 문화산업의 가치사슬은 기획창작단계인 ‘기획ㆍ개발’, 사업화단계인 ‘제작ㆍ생산’, 활용유통단계인 ‘공연ㆍ전시ㆍ유통’, 그리고 소비향유단계인 ‘소비ㆍ이용ㆍ판매’로 나누어 볼 수 있다. 산업의 대상은 예술성ㆍ창의성ㆍ오락성ㆍ여가성ㆍ대중성등의 문화적 요소가 체화(體化)되어 경제적 부가가치를 창출하는 유형ㆍ무형의 재화인 부호ㆍ문자ㆍ도형ㆍ색채ㆍ음성ㆍ음향ㆍ이미지 및 영상 등의 자료ㆍ정보 및이를 제공하는 서비스의 복합체를 의미한다. 이 산업의 영역은 만화, 영화, 국악을포함한 음악, 무용ㆍ연극ㆍ축제를 포함한 공연, 연예(演藝), 미술ㆍ디자인 요소를활용한 광고, 캐릭터, 인쇄ㆍ정기간행물ㆍ문학ㆍ어문(語文)을 아우르는 출판, 애니메이션ㆍ비디오물을 포함한 방송영상물 및 게임 등을 포함한다. 또한, 유형의 건축, 문화재, 미술품, 공예품, 의상, 조형물, 장식용품, 소품 및 생활용품 등과 지식정보ㆍ 콘텐츠솔류션ㆍ에듀테인먼트ㆍ모바일문화콘텐츠ㆍ디지털문화콘텐츠ㆍ사용자제작문화콘텐츠ㆍ멀티미디어문화콘텐츠 등의 전자매체 기반의 문화상품과 전시회ㆍ 박람회ㆍ견본시장 등의 문화공간과 사진 및 대중문화예술산업 등이 포함된다.

한국과 중국의 초기 문화산업 정책과 경로의존성 문제 연구

권기영(Kwon, Ki-Young) 중국문화연구학회 2018 중국문화연구 Vol.0 No.39

This paper aims to discover what factors have affected the formation of cultural industry policies in China and Korea. And I stressed that the two countries’ cultural industry policies were formed in the frame of the ideologies and institutions of past cultural policies and strategic industry policies. In terms of cultural policy ideology, China continues to have the ideologies established by Mao Zedong, such as philosophical awareness of culture, national development and relationship with culture, the main agents of cultural policy, purpose, and means, until the 21st century. On the other hand, the successful democratization of Korea served as an opportunity to establish the independence of cultural policies from the public-driven cultural policies of past development-led dictatorships. And this transformation was shaped into an elimination of the laws and regulations for each species in the 1990s. In terms of the cultural policy system, Korea’s shift from public information to cultural center, regulation to promotion, and extension of the cultural ministry’s external extension (integration of culture, media, tourism, and physical education) are represented. China, on the other hand, shows a characteristic of continuing without a big change in terms of its culture, administrative organization and legal system. This ideological and institutional background in cultural policy will have a strong influence on the two countries ’ development of cultural industry policies. ‘Path-dependent’ is more noticeable in the formation of cultural industry policies, especially in relation to the two countries’ strategic industry policies. The way in which Korea promoted its cultural industry strategy was very similar to the policies for fostering heavy and chemical industries or the policies for fostering the information and communication industries. And China’s strategy for fostering the cultural industry is quite similar to its policy on fostering the information industry of the past. This shows that both Korea and China have established cultural industry policies through learning about past successful strategic industry policies. Such similar forms of Korea and China’s cultural industry policies to those of East Asian Development Model, such as the development of heavy chemical industries and the development of the information and communication industries, are seen as the absolute effects of the industry policies that these countries have had in the past.

문화콘텐츠산업의 경제적 파급효과와 발전전략

김정숙(Kim Jeong-sook),안영규(Ahn Young-gyu) 한국문화산업학회 2009 문화산업연구 Vol.9 No.1

This paper examines the economic impacts and development strategies of cultural contents industry. The Korean cultural contents market is known to have several serious problems: the infringement of copyright, weak competitiveness, shortage of specialists, and lack of understanding about cultural contents. Therefore, enforcement of copyright, protection of private information, broadening of free entrepreneurial activities, promotion of global competitiveness, nurturing of professionals, and acknowledgement of the culture content are necessary in order to resolve the problems and to promote the cultural contents industry as a driving industry in the 21th century. Current situation of the global economic crisis will be described in the second chapter. Chapter three examines definition and main characteristics of the cultural contents industry and its economic impacts. Chapter four discusses present status of cultural contents industry and development strategies for the industry. This paper examines the economic impacts and development strategies of cultural contents industry. The Korean cultural contents market is known to have several serious problems: the infringement of copyright, weak competitiveness, shortage of specialists, and lack of understanding about cultural contents. Therefore, enforcement of copyright, protection of private information, broadening of free entrepreneurial activities, promotion of global competitiveness, nurturing of professionals, and acknowledgement of the culture content are necessary in order to resolve the problems and to promote the cultural contents industry as a driving industry in the 21th century. Current situation of the global economic crisis will be described in the second chapter. Chapter three examines definition and main characteristics of the cultural contents industry and its economic impacts. Chapter four discusses present status of cultural contents industry and development strategies for the industry.

Research on Core Competence of Cultural Industry in Korea

Yu Li,Hao Li 한국유통과학회 2017 Asian Journal of Business Environment (AJBE) Vol.7 No.2

Purpose - This paper will go deep into the analysis of Korean Cultural industry development, and the result of the analysis shows that the cultural value of cultural product, competitive product lines and mature Market Mechanism are core competences of Korean Cultural industry. Research design, data, and methodology – This is a case study in the era of knowledge based economy, Cultural industry has become a new increasing point of economic development. Cultural industry, commonly regarded as an industry with high-ended value, is occupying more important role in economic development and social welfare promotion process. Results - Moreover the increasingly important role of cultural industry will hopefully help to promote industrial upgrading process and finally become a driving force for economic growth and technological innovation. During the process of cultural development, improving core competence of Cultural industry is a key consideration to help the development of Cultural industry in a positive way. Conclusions - From the study above, we find that in order to ensure sustainable development of Cultural industry, emphasis should be put on finding and improving core competence. Core competence of Korean Cultural industry is important and inspiring to the development of Chinese Cultural industry and regional integration in the East Asian area.

엔터테인먼트 산업에 대한 행정법적 규제와 조성

배병호 행정법이론실무학회(行政法理論實務學會) 2013 행정법연구 Vol.- No.37

Entertainment Industry is directly connected the purpose of framework Act on the promotion of cultural industries that consists the enhancement of life quality and the development of high culture. Also it has two industrial characters. One is service and the other is manufacture. As a growth factor in Soft economic period of 21 century, it works for the raise of national brand and the diffusion of creativity of another industry. The cultural commodity as the results of entertainment industry is exchanged without barrier through the development of information communication technology. But it has contained the lifestyle, value standard, thinking way of productive country, Cultural Sovereignty, Cultural Imperialism and Cultural Identity are debated . The Korean Wave has sparked a fad for Korean movies, dramas and pop music in the world. We have the first black-ink balance of cultural import-export in 2012. Government and cultural artist want to continue this ambiance, it is not easy for consumer’s whimsicality and vagueness. Moreover USA, England, France, Japan and China join in the struggle of Entertainment Industry. Korean wave is resulted from the myth of economic miracle and democratization through our colonialized experience, the division of national land of cold war, korean war of 3 years. Our cultural industry policy should aim to the right direction on the world peace and human prosperity. Framework Act on the promotion of cultural industries is basically inducive administration through the promotion or aid of administrative government. Also the regulation against the law is weak. So the regulation against the law should be stricter than now. The condition of Contents Industry promotion Act and Films and Video promotion Act is similar to that. Although the rapid change of cultural legislation has made, legal terms should be defined correctly. Even if the korean language can not bear new word of contemporary part, same word must have the same meaning in similar or relating law. The definition of “cultural industry” between Cultural art promotion Act and Framework Act on the promotion of cultural industries is not same. According to the purpose of Cultural art promotion Act, “cultural art industry” must be used in Cultural art promotion Act. Government should endeavor to develop the word-formation ability of national language. The function of administrative law on cultural industry is progressive aid and proper regulation. To realize the ideal of our cultural state, then to be main culture, we have to make creative and expert culture. 엔터테인먼트산업은 문화산업진흥기본법의 목표인 삶의 질 향상과 수준 높은 문화 창달과 직접 연결되고 있으며, 서비스업 특성과 제조업적인 성격을 모두 가지고 있다. 또한 21세기 소프트경제 시대의 성장 동력으로 국가브랜드제고 및 타산업의 창의성 확산의 촉매제로 기능하고 있다. 엔터테인먼트산업의 결과물인 문화상품은 이를 생산하는 나라의 가치관, 사고방식, 생활양식 등 문화적 요소가 배어 있다. 그것이 정보통신기술의 발달로 교역의 장벽이 없이 교환되면서 문화주권론과 문화제국주의가 거론되고 유입 국가의 문화정체성 유지 문제가 제기되고 있다. 겨울연가와 대장금 등의 해외 열풍에 힘입어 게임, k팝, 드라마, 영화 등으로 확장되면서 2012년 문화수입과 문화수출에서 사상 처음으로 흑자를 내기에 이르렀다. 이러한 분위기를 지속적으로 발전시키기 위한 정부의 노력과 이에 부응한 문화인들의 열정이 대단하나, 대중문화상품에 대한 소비자의 모호함과 변덕스러움은 새로운 대응과 준비를 요구한다. 더욱이 미국, 영국, 프랑스. 일본, 중국 등 세계의 문화강국이 문화산업 전쟁에 뛰어들었기 때문에 만만한 상황이 아니다. 새로운 문화제국주의가 거론되고 문화민족주의가 강조되므로 우리의 문화산업정책을 돌아보게 한다. 우리의 한류열풍은 근세에 식민지국가로서의 고통, 냉전으로 인한 국토의 분단, 3년간의 한국 전쟁 등을 거치고도 경제적 기적과 민주화를 이루었다는 신화에 힘입었다고 판단된다. 이를 지속가능하게 하려면 세계평화와 인류공영의 이념에 바탕을 둔 올바른 방향을 제시해야 할 것이다. 세계적 정의(global justice)와 국가의 의무(state duties)를 논하는 마당에 국경을 전제로 한 국가의 역할을 거론하는 것이 어색해 보일 수 있지만, 문화의 다양성을 인정하는 포용성이 정치⋅경제⋅문화제도의 발전과 번영을 가져 오는 것임은 부인할 수 없다. 문화산업의 경제적 기능을 강조하는 시점에서 각국의 경쟁은 치열하다. 종래의 2차 산업과 달리 문화산업의 역사가 일천하고 선진국과 후진국의 경계가 약한 만큼 문화산업진흥기본법은 행정부의 적극적인 지원을 바탕으로 한 유도행정의 모습이다. 행정부의 지원 위반에 대한 규제가 있으나 그 정도가 약하여 모양 갖추기에 불과한 것으로 평가된다. 자율을 존중해야 하는 문화산업이라고 하나, 문화 창조 열의에만 맡긴다는 것은 미흡하다고 할 것이다. 개별법에서 행정벌규정을 두고 있으나 기본법에서의 감시 기능은 강화되어야 할 것이다. 급격하게 변하여 온 문화관련 입법에서 개선되어야 할 것은 용어에 대한 정의를 정확하게 해야 한다는 것이다. 새로운 분야의 창출로 입법기술 상 어려운 부분이 있다고 하더라도 같은 법 영역에서 용어가 달리 사용되는 것은 입법원칙에 반한다고 할 것이다. “문화산업”에 대한 문화예술진흥법과 문화산업진흥기본법의 정의가 달리 표현된 것은 입법의 미비라고 할 것이다. 아울러 문화의 세계화추세에 맞추어 국어의 표현능력도 개발하고 강화해야 할 것이다. 문화산업에 대한 행정법의 기능은 적극적인 지원과 적절한 규제이다. 문화국가의 이상을 실현하기 위하여 창의적이고 전문적인 문화산업을 계속 발전시켜 나가면 일시적인 주변문화가 아닌 중심문화로 될 것이다. 문화행정법이 문화산업의 지속적인 발전을 위하여 기존의 막대한 지원과 규제를 구체적으로 검 ...