• Journal of the Korea Institute of Information and Communication Engineering
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• v.22 no.9
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• pp.1191-1198
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• 2018

This paper illustrates not only the effectiveness of applying content quota system for on-demand video streaming platform, but also the effect of OTT regulation on copyright protection and cultural industry protection in a single market, focusing on the community's response to Netflix's entry into the EU market. Additionally, this paper examines on-demand video streaming services, growth of Netflix. The EU policy on the on-demand video streaming service market consists of 'portability' in the digital single market and content quota for copyright protection. In this paper, I analyze the market protection and the aspect of improving competitiveness of online streaming service industry. The EU is trying to protect the cultural industry and copyright protection in the region by applying and regulating the OTT business in content quota system, which has been applied only to European broadcasting companies.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.608-616
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• 2013

Debate on the introduction of musical 'stage quota' has been triggered to protect domestic original musical market. In the in-depth interviews with experts, most of the interviewees were in favor of the introduction of this system, ensuring mainly cultural diversity. The proposed model by proponents is that large-scaled national and public theaters(1,000 seats or more) must perform original musicals at least from 20% to 30% of total musical performance days per year set by law until its competitiveness should be ensured. Opponents proposed that government should design musical promotion and funding policy. The study implies that stage quota should carried out since the system is essential, and should be institutionalized through legislation. It is also suggested that government should consider and consult the stakeholders to draft this system reflecting answerers' limitations such as target, quota rate, period to minimize side effects like shrinkage of musical industry.

• The Journal of the Korea Contents Association
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• v.10 no.1
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• pp.256-266
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• 2010

This study is to suggest the solutions about the problems of maximum requirements of animation broadcasting. About 10 experts of broadcasting, animation production, animation related professor and researcher and government take part in this study and discuss problems and their solutions of maximum requirements of animation broadcasting from January to march in 2009. This policy introduced 4 years ago had the positive effects such as the increase of animation production and the number of animation production company, but also the negative effects such as continuous decrease of rating in terrestrial broadcasting and transferring to low rating time slot of animation, downward equalization of animation and changing to minimum securement method. This study suggested the solutions as follows; first the enlargement of this policy to cable and satellite broadcasting, second introducing incentive policy in prime time, third the subsidy of media oriented investment. Finally this study stressed that this solutions should not be compulsory order but voluntary system.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.132-146
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• 2017

Over the years(1971 to 1987), only 20 Korean film production companies had been granted the exclusive rights to make Korean films in Korea and to import foreign films with a quota system. They had been making trashy Korean movies to secure import quotas of foreign films. Newcomer's entry of market had also been limited and the growth of Korean films through innovation had been hampered. In the same period, The annual number of Rookie director is 10, the portion of debut films of all Korean films is 10.62%, and the audience portion of debut is only 10.5% of Korean movie audience. From 2004 to 2016, total number of rookie directors is 874, and 61.72% of 1,416 directors who made his debut over the 46 years from 1971 to 2016. This is far more than the number of directors who debuted for the last 32 years. From 2004 to 2016, the annual number of rookie directors is 62.15 and their debut film occupies 39.58% of the total amount of Korean movies released and 32.8% of the audience number. Since the full opening of the domestic market to foreign films industries in 1988, the liberalization of independent film production in 1999, as a result of innovation of a competitive system, the Korean movies have been loved by audiences. However, there are concerns that the decline of the screen quota in 2006, the monopoly of the 4 major distributors, increase in indie movies and Semi-adult movies for VOD, could be the potential threat for future innovation in Korean cinema.