• The Journal of the Korea Contents Association
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• v.9 no.6
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• pp.72-81
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• 2009

This article deals with the relation of korean animation and film policy from the late 1960s to early 1980s. The korean film policy was based on ideology of modernization. Animation industry was under the this policy. The result of effect of this film policy on animation was following. Firstly, there was the boom up of making of animation. Secondly was increasing of subcontract. The encouragement of exportation of government drove many companies to this trend. Lastly, many animations conspired to exercise the ideology of regime. Example was anti-communist animation. In that period the historical specificity of Korean animation had been built in these process.

• Cartoon and Animation Studies
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• s.15
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• pp.139-150
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• 2009

Today, China can reestablish its previously prosperous Chinese animation tradition and can make a great plan of recreating earlier characteristic Chinese animation style. In China, TV culture was already here to stay and a large number of foreign countries' animations were entering the Chinese market. Presently, Chinese animation was recognized as time order of 4points: Animation policy, Animation industry, Animation market, and culture. My studies about these issues show the Chinese animation industry has entered an advancing country. I have especially researched into solving these issues with the Korean and Chinese animation & market. As result, I have concluded that the Chinese animation industry must engage itself in foreign animation styles and global market in order to further advance its industry. To help raise its production quality & technique status, I recommend the Chinese government actually give the donations promised to the Chinese animation and culture industries as well as the education system now.

• The Journal of the Korea Contents Association
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• v.7 no.12
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• pp.55-65
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• 2007

The commercial value of the Korean animation was developed by the government's policies of revitalizing reform and national harmony from 1960 to the middle of 1980. Especially, the character of the anti communistic animation was organized by the structure of confrontation between South (good) and North (evil). The confrontation was viewed by communism and liberal democracy by red and white (or blue) and a pig or a boy. Such ideology and the policy of Korean culture gave some impact on its culture, for example, movie and animation. The animation became the tool of educating the idea of anti-communism and the policy of Korean culture by firming the policy of anti communism. But that animation of anti communism must not be blamed because it is a general animation of Korea which describes the reality. We have to take a hard view of the time and reconsider it by the new point of view.

• Cartoon and Animation Studies
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• s.39
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• pp.27-58
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• 2015

The crisis in profit and funding for animation is in evidence around the world. The change in media environment has forced broadcasting advertising revenue down and animation viewers spread out. Now, animation players in the strongest position are either the US major studios, or producers benefiting from domestic support schemes. Government support is available in many countries because many governments believe that support for domestic animation carries both economic and cultural benefits. This paper is designed to suggest new policy schemes for Korean animation industry. The new paradigm of animation policy needs a new perspective on content industry as a whole, not centered on the animation itself. The researchers on public policy for culture, audiovisual and content industry argued that the government should, (i) play the role of facilitator for virtuous cycle of industry value chain, (ii) provide fiscal support through automatic and selective schemes, (iii) provide tax benefit to strengthen the competitiveness of industry, and (iv) enforce the broadcasters to contribute to domestic programming and financing. Comparative analysis on French and Canadian audiovisual policy supports such arguments, and animation industry of two countries are enjoying the high audience ratings and sustainable production volume. From the analysis, this paper suggests the new government schemes for Korean animation industry, which are, (i) securing the public funding for fiscal support, (ii) introduction of automatic production support, (iii) modification of broadcasting quota, (iv) broadcaster's performance envelope and production quota, and (v) tax benefit as indirect support.

• Cartoon and Animation Studies
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• s.11
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• pp.11-28
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• 2007

The article concerns the public policy for the development of the arts educator in the field of the comic and animation education. The comic and animation education programs are focused on the promotion of the creativity and communication skills of the student in terms of the arts education. The article seeks to examine the case on the support program for the comic and animation educators, which has been managed by Korea Arts & Culture Education Service(KACES) since 2005. The forty two educators were surveyed. As a result, the support program of the KACES has an effect on the educator's recognition of the comic and animation education in the positive way. The most of the educators suggest that the support program should try to develop the comic and animation educator job as a special work with the full time job. In this repect, the article recommend the policy alternatives such as the promotion of the education program R & D, the knowledge and information system, training system and the establishment of the governance system.

• Journal of Science of Art and Design
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• v.7
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• pp.206-226
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• 2005

• The Journal of the Korea Contents Association
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• v.10 no.12
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• pp.173-180
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• 2010

Cultural contents industry is a kernel industry based on knowledge. This study is to suggest some complements by watching and analyzing cultural industry policy and status of especially animation America, England, France and Japan and that of Korea to aim at American market. I described financial resources, creation and technology, development of human resources, export method, improvement of legal system for the supplementary method of animation export strategy. This reports could be applicable as a information to plan industry policy or to develop detail program.

• 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.

• Cartoon and Animation Studies
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• s.13
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• pp.181-197
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• 2008

Government set violence as one of the important criteria when it rates movies or TV programs for juveniles. The purpose of selling this criteria is to prohibit the violence in TV programs or movies from affecting the actual behavior of juveniles. However, it is still under discussion how much the violence in broadcasting media actually affects juvenile violence. Korea once carried out a social experiment on juvenile violence media. Back in 1970, violent animation was popular in Korea and Korean government completely banned televising violent animations from September 1980 in an effort to prevent juvenile violence. Investigating the effect of this policy on juvenile violence would draw some implications. The result shows that the policy to ban violent animation in September 1980 didn't have meaningful effect on the trend of juvenile violence. The implication from this paper is that there is no certain cause-and-effect relationship between violent animation and juvenile violence. Another implication is that In-depth discussion is needed if this governmen4 policy is violating the juvenile's right to choose public media.

• Cartoon and Animation Studies
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• s.33
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• pp.203-221
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• 2013

While visual industry of the 21st century is becoming higher value-added industry, animation which is a representative genre of visual industry is also developed to the industry focused by government. Korea and China also pursue the development of animation as government executed animation industry promotion policy after the 2000s. However, its results are still under the expectation. Korea hopes advance of Chinese market because of the limitation of market and China is also one of the markets we want to grow together due to the vitalization of Korean visual market. Therefore, if examining characteristics of Korean and Chinese animation industry which is still influenced by government policy and analyzing characteristics of government policies of two countries so as to seek measures to exchange each other with mutual confidence, Korea showed manufacture supporting policies focusing on creation and design, but China focuses on support policies grasping markets of animation and establishing the space for production. Now, it has been about 10 years and Korean market of animation is unstable and it's difficult to release new manpower because of the insufficient space of creation. But, China secured animation market and established creation space in every region of the whole country, but there are not desirable outcomes because of the limitation of materials and characters and insufficient factors of designing and creation. If trying collaboration or joint production and sharing the market by utilizing characteristics of Korean and Chinese animation, both of two countries will obtain better outcomes.