• Journal of Korea Fair Competition Federation
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• no.116
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• pp.2-6
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• 2005

스크린쿼터는 문화적 다양성을 지키기 위한 수단으로서 통상협상의 대상이 아니라는 것이 국내 영화인들의 지배적인 생각이지만 순수예술과는 달리 대중을 상대로 하는 영화에 있어서 문화적 다양성이란 창작의 다양성보다는 오히려 소비의 다양성 확보에 더 큰 비중이 두어져야 한다고 본다. 그러므로 한국영화의 경쟁력 확보를 위해 소비자들의 영화선택권을 제한해 온 스크린 쿼터는 더 이상 유지되어야 할 근거가 없어졌으며, 만일 스크린 쿼터의 폐지나 축소에 따라 외국영화의 국내시장 독점이 문제된다면 이는 시장경제의 파수꾼인 경쟁법에 맡겨야 할 것이다.

• Korean journal of communication and information
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• v.35
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• pp.147-178
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• 2006

Screen Quota is very important topic at our whole society not only film industry. Moreover the opinions are sharply divided. So, journalism, at the objective and neutral position, has the responsibility to present objective field to discuss and neutral information. This script censoriously focuses that how Korean Journalism handles Screen Quota issue from the upper mentioned premises. The first point is Korean Journalism gives legitimacy to the Governmental persistence, which is fixing Screen Quota as a hurdle for the FTA settlement so that it should be reduced. Secondly, Korean Journalism has been reducing the importance of the Screen Quota issue as the problem of film industry itself own, describing it as combat between Government and Film Industry. Third, it describes the Screen Quota as a privilege granted to the Film industry only. Finally, it provides power to the point of view of the Government which insists to reduce the Screen Quota mentioning the superiority of the competitiveness of the Koran Films discriminatingly. In conclusion, I could not but define that Korean Journalism is only speaking for America and Korean Government especially about the Screen Quota issue which is divided sharply. What it means is Korean Journalism has not been providing not only objective information but also impartial dispute field to the public for the issue which has very importance socially. The news and discussions about Screen Quota shows that this issue is not free from the progress of FTA which includes the Screen Quota problem. Further on, it could be deduced that the discussion about Korean film industry has kept on focusing its topic to the choice of decreasing or maintaining Screen Quota. The cultural contents have been expanding its importance day by day. Endeavors to settle the enormous problems of film industry should be preceded to strengthen the competitiveness and to prepare against market opening. Consequently, to solve the problems of film industry, Screen Quota should be positioned as a protect policy rather than a remedy for every ill, at the same time all the possibilities should be considered especially for the problems that Screen Quota could not solve.

• Journal of the Korea Society of Computer and Information
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• v.14 no.12
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• pp.217-223
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• 2009

This study is to analyse the impacts of screen quota in the screen industry and suggests policy implications. To achieve the purpose of this study, we reviewed the theoretical base and history of screen quota, and analyze the share ratio of domestic films and the impacts of screen quota on the actors concerned it. The screen quota was introduced for the purpose of cultural diversity and the protection of screen industry. But it constrained consumer's choice and owner's property. This study suggested policy implications bases the analytical results.

• Korean journal of communication and information
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• v.39
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• pp.140-177
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• 2007

The purposes of this study are to analyze how the media reflects the source competition between the activist group and the governmental source in the news contents. Media ideology and the conflict phase also were chosen as situational variables for evaluating how those variables could influence the source competition process. To answer the proposed research questions, the study chose the 'screen quota' issue as a research unit and analyzed documents from three sources, media news, the activist group for maintaining screen quota, and the governmental source during six years and three months. The results showed that the government source played a primary definer role in media reporting related to the screen quota issue, compared to the activist group. The governmental source's primary definer role was maintained against the highly contested social issue while the media ideology, to some degree, leveraged the activist group's comparatively unstable primary definer power. The governmental source's primary definer role was escalated as the conflict phase evolved.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.238-250
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• 2011

In 2006, the number of days of the screen quota (theatrical movie screening days of Korean produced films in a year required by the law) was reduced to 73 days from 146 days per year. Three years after the reduction of screen quota, this paper studies the impact of reduction of screen quota system on Korean produced films. Using Non-parametric statistics, Gini Index and Regression analysis, this study shows that the average number of Korean moviegoer of Korean films which was released last three years(2007-2009) after the cutback of screen quota in 2006 is reduced to 640,109.9123 from 1,107,217.82 for three years(2003-2005) before the cutback. And this is significant in statistics. while Hollywood film gets 76,168,518 more audiences than the total number of audience for 2003-2005, the total numbers of Korean films is cut to 218,917,590 (2007-2009) from 245,802,356 (2003-2005). Gini Index of 2009(0.84) indicates that the inequality of a distribution of box office performance of Korean films is getting worse after the cutback. For now, the reduction of screen quota has negative effects for Korean films. Only the technological advance, education of relates personnel, redesigning of the related infrastructure, market-driven movies, creative production, and the promotion of the independent films can reduced the negative effects.

• Korean journal of communication and information
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• v.36
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• pp.399-422
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• 2006

Whether to reduce the current 'screen quota' for domestic films in conjunction with the FTA discussions between Korea and the United States is one of the hotly debated issues in Korea. Using Toulmin's Argumentation Model, this study attempts to trace the use of data and warrants for each pro and con claims as portrayed in newspaper editorial columns and to find its rhetorical significance. A total of 67 editorial columns were collected from 9 nationwide news dailies in Korea for the purpose. The rhetorical analysis of those articles showed that the major warrants used in each pro and con opinion were absent of the potential issues of the opponents, which inherently fails to invite rebuttals from the opposite sides. This conceptual wall in each argumentation models implies an inactive conversation and subsequent absence of clash between the pro and con argumentation fields. It is thus suggested for opinion writers to find more adequate evidences to support the data and warrants to hold persuasive power of their respective claims, ultimately to enhance the public discourse among citizens.

• Digital Contents
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• no.6 s.157
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• pp.98-100
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• 2006

국내 영화 산업 성장의 밑거름이 됐던 스크린쿼터제가 146일에서 73일로 축소됐다. FTA라는 거대한 파도를 결국 넘지 못한 것. 그러나 이러한 변화는 이제 시작에 불과하다. 향후에는 방송∙통신∙의료∙교육 등무수한 분야에서 FTA로 인한 변화의 바람이 거세게 일 것으로 전망되고 있다. 애니메이션분야도 예외는 아니다. 이제 갓 해외에서 인정받기 시작한 국내 애니메이션 산업활성화를 위해서라도 정부와 관련기업및 단체들이 이에 대한 대비책을 마련해야 할 때다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.7 no.5
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• pp.982-991
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• 2006

The screen quota system is one of the most controversial issues in the Korean film industry. There are two different points of view regarding the system. Some say it is highly effective to protect and nurture Korean movies. However, others argue that it hurts the duality of the Korean movies. The number of days, for which Korean movies have to play on local screens, has been reduced to 73, starting on July 1st, 2006. Actually, it is 50 percent fewer than the previous year. In facL Korea has implemented the screen quota. system two times. First, it was practiced from 1935 to 1945, during the Japanese colonial period. This was to regulate imported movies, especially American ones, as the Japanese government was to use movies for the political propaganda. In 1935, the number of foreign movies screened had to be less than three fourths of the total. And they gradually reduced the size by two thirds in 1936, and again by half in 1937. After the attack on Pearl Harbor when the Pacific War happened, Japan completely banned importing American movies in Korea. The reason why it regulated the imported foreign films is to increase the number of domestic movies, both Japanese and Korean. It was for making propaganda films fur carrying the war. The second practice of the screen quota is from 1967 to the present year. It was designed to boom the Korean film industry. However, the competitive power of Korean films has not been improved in spite of the practice of the system. Moreover, the film industry has gone through the depression. Korean film agencies have occupied the Korean film market thanks to the protection by government. The founding of the film agencies has been strongly regulated. So has importing foreign movies. Under the special protection like this, Korean film agencies have been enjoying the monopoly In the mean time, they have pursued income not by making quality movies but by importing foreign movies. As a result, cinema audiences turn away form Korean films and prefer foreign movies. Furthermore, the screen quota system hurts the relationship between film producers and distributors, imposing the duties only on theaters. In short, the screen quota system has satisfied neither film producers, theater runners, nor film goers. In other words. the excessive protection has weakened the competitive power of Korean film industry.

• The Journal of the Korea Contents Association
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• v.15 no.5
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• pp.151-167
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• 2015

Korean movie maintain their market share from the highest 59.7% to the lowest 42.1% during the last ten years in Korea. However, with the multiplex and wide release strategy, the monopolies of four major distribution companies and three multiplex chain, the polarization of Korean movie's Box Office performance is deepening. With Gini-Index, concentration of film admission has been deepened in intensity from 0.53 in 2004 to 0.85 in 2014. Using Thomas Piketty's method, Movie attendance proportion of Highest 10% of the box office ranking for 2014 sharply increased to 71.2% from 30.28% in 2004 and the lowest 50% of box office ranking dropped from 11.03% in 2004 to 0.08% in 2014. Concentrations of the number of Screen, Screening, the seating Capacity have the same analogy with the polarization of film admission. However, concentration of seating share has maintained a modest increase from 0.22 in 2004 to 0.38 in 2014. This analysis shows that polarization of Korean movie box office performance is not the sole result of Natural selection of market but the result of the monopolies of distribution companies and Multiplex chains.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.305-322
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• 2016

With the multiplex and wide release strategy, the monopolies of four major distribution companies and three multiplex chain, the polarization of Korean movie's Box Office performance is deepening. The four major distributor of NEW, CJ CGV, Lotte Cinema distributed 290 movies of 538 movies produced from 2009 to 2014 in Korea. The audience market share of these four distributors is 85.74%, while other 248 movies covers only 14.26%, which are distributed by outsides of the four major distribution system. The concentration of film admission has been deepened in Gini Index from 0.53 in 2004 to 0.85 in 2014. The movies distributed by others rather than four major companies suffers inequality in numbers of secured screens, screening times, and secured seats of movie theaters. In the highest 10% of box-office ranking, there is only one movie distributed by others. The lowest 50% of box-office ranking, there are 186 movies by others, while four companies have 81 movies. However, Occupancy rate of seat of major companies is lower than 16.83% of that of the others in the lowest 50% section. Workers of Korean movie industry are suffered from this polarization and they seek their breakthrough by producing erotic movies for VOD in recent years.