한국 문화정책의 창조적 전회 = 자유, 투자, 창조성

다국어 초록 (Multilingual Abstract)

This study starts with the worldwide interest in the ‘creative turn’ in national cultural policy, which was initiated by the British New Labour governments (1997~2010). Indeed, the turn, which sought to restructure cultural policy with a constellation of new concepts such as creative industries, creative economy and creative cities, has had a remarkable takeup in many parts of the world. Whatever their past histories or contemporary situations, many countries appear to have quickly adopted this new trend.
Within this context, this study argues that the ‘rise of cultural industries policy’ under the Kim Dae-Jung and Roh Moo-Hyun Governments (1998~2008) can be taken as direct evidence that a similar kind of creative turn also happened in South Korea. However, despite the similarities in the driving discourses and policy methods, this study also argues that the Korean policy shift was significantly different from its British counterpart as a result of the differences in the paces and trajectories of industrialization in these nations. Starting from the concept of the ‘East Asian developmental state’ as an entry point, I will explore how and why Korea went through a cultural industries policy shift in the period following the 1997~1998 Asian financial criisis and then reconstruct the distinctive policy framework that was produced as a result of the shift.
I will conclude this study by stressing the ‘creative turn’ of Korean cultural industries policy was based upon the two pillars, ‘arm’s length principle’ (i.e. freedom/autonomy) borrowed from the regulatory states and the ‘vision of making cultural industries into a new national basic industry’(i.e. investment/traction) borrowed from the country’s own developmental era. this is the reason why the creative turn can be called ‘neo-developmental’.

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