• Korean Association of Arts Management
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• no.54
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• pp.155-184
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• 2020

This study aims to examine the system for gender rights in arts and cultural industry triggered by #Metoo movement and to suggest action plans to improve gender equality. Up until now, Korean government launched 'Pan-governmental Counter Plan', 'Recommendation of the Special Center for Investigating Sexual Harassment and Sexual Violence in Arts and Cultural Industries' 'the Primary and Secondary Supplemental Measures to Eradicate Sexual Harassment and Sexual Violence in the Arts and Cultural Sector by the Ministry of Culture, Sports and Tourism in Korea', and '2030 Cultural Vision'. Korean government has designed the system to protect gender rights using these proposals. Implemented policies can be grouped into 4 different categories; protecting victims, punishing abusers, implementing preventive measures, and reforming legal system. However, despite Korean government's multilateral efforts, continuous criticism aroused as policies failed to witness actual impacts in the industry. Given the fact that 2 years have passed since the launch of gender equality policy in cultural sector, this is the right time to discuss the current status and ways to improve it. For above reasons, research was conducted on documents including, but not limited to, government publications and an analysis of interviews with 9 major stakeholders of policy planning and implementation. During the study, interviews were analyzed using the qualitative research program MAXQDA. As a result, 5~10 problems were revealed in each category of the system. Furthermore, meaningful correlation has been found in improvement areas suggested by the interviewees. This connection implies that the policy for gender rights in arts and cultural industry shall be developed organically in order for the system to work.

• Review of Culture and Economy
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• v.21 no.2
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• pp.3-28
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• 2018

This study focuses on analyzing the glass ceiling effect in arts and culture professionals through the quintile decomposition applied to the RIF unconditional quantile regression and Oaxaca-Blinder decomposition technique. From the industrial viewpoint, we divide arts and culture professionals into cultural contents professionals(large category J industry) and arts professionals(large category R industry). For our analysis, we employ the pooling data of 'Wage Structure Survey' from 2009 to 2016. Our results are summarized as follows. First, as OLS wage decomposition showed that the gender wage gap among the arts professionals was lower than cultural contents professionals, but the discrimination portion of total gender wage gap was larger. Second, from quintile regression decompositions, the glass ceiling effects of two types of professionals showed different results. Cultural contents sector was observed with the "steady glass ceiling effect" as the portion of the discrimination was continuously increased, while the arts sector was observed with the "limited glass ceiling effect" as the discrimination had drastically increased in the 80s and 90s.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.31-45
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• 2020

The objective of this study was to understand the characteristics of Chinese cultural industry shown in the analysis of a successful IP martial arts stage play 'Seongeomg ihyeopjeon' that applied martial arts as Chinese traditional culture. The cultural industry of Chin a has modified the relevant legislation since China's reform and opening up in 1979, and the term 'intellectual property rights(IP)' was used in the Chinese laws for the first time in 2008. Thus, transcending the instrumental scope for maintaining the regime in the past, the culture was regarded as an economic profit industry and a representative industry for strengthening the soft power of traditional culture. The results of analysis on the stage play are as follows. First, the Chinese cultural industry has been developed by support policies for strengthening the soft power of Chinese-characteristic traditional culture and overseas expansion through the state-led modification of relevant legislation. Second, the Chinese cultural industry is including its unique traditional cultural factors, and the succe ssful marke ting results could be obtained only when the high awareness and many fans are secured. Third, for the inflow of audiences through the work advertising, it would be preferentially needed to analyze various opinions of fans through active SNS communications with them instead of the existing advertising such as TV, radio, and newspaper, and also to reflect the national cultural industry policies and producers' opinions.

• The Journal of Art Theory & Practice
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• no.1
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• pp.93-108
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• 2003

The aim of this thesis is to evaluate visual arts policy during Kookmin government period(1998-2002). In the beginning, many artists had expected president Kim Dae Jung to enlarge arts support But the evaluation of them was very negative because the government was only interested in the development of cultural industry. First, I analysed the government expenditure in the visual arts. Department of Culture and Tourism took the responsibility of visual arts policy. The budget of arts and culture increased to 1 % of total government expenditure in this period. But the main factor was the increasement of cultural industry and tourism expenditure. The budget of visual arts in 2002 was only 6,600million won. Second, I analysed visual arts support programs. (1) The government introduced studio programs for the first time. For 5 years, 2 national studios and 23 public studios were established. (2) The number of art museum was increased to 62. (3) It introduced alternative space support program and supported 200million won annually. (4) Percent for art scheme reduced from 1% to 0.7% of total construction cost, but still 27 public sculpture gardens were built. (5) Business support for visual arts reduced because of IMF. (6) Also arts market froze and many commercial galleries were closed. (7) In order to revitalize region through arts and to promote international exchange of culture, Gwangju Biennale was created. Third, I analysed Arts Plan 2002. It had a radical limitation because it was established in the last year of Kookmin government period. Also it showed special favors to some arts organizations. In general, I think that positive outcomes are the introductions of the studio program and the alternative space support program. Especially alternative space support program enforced the diversity of visual arts, and encouraged creative young artists. But policy of arts market failed because of IMF and visual artists had to go through rough times.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.37-43
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• 2007

In recent years, the cultural industry is considered to a major industry in the 21 century, and performing culture is growing rapidly in Korea. Also, rapid development in terms of quality and quantity can be found in the diversification of usage, a trend focusing on the space for performance, and an emphasis on the accessibility between the stage and auditorium. In addition, active research is being conducted on the performing arts facilities, a relationship between the stage and auditorium, and a space programfor each space considering users. However, most of the current studies are conducted byviewing the facilities in a two-dimensional space. Similar to other cultural facilities, such as museums and galleries, performing arts facilities have been planned in the thinking that the ratio of capacity increases in proportion to the area. Considering a dimensional capacity in the spatial composition of performing arts facilities is important, but it has been ignored until now. Therefore, in order to analyze performing arts facilities in the three dimensional approach, this study is conducted centering on the actual capacity and provides basic data that can be used for planning a construction of future performing arts facilities.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.241-255
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• 2016

This study aims at examining the making and distribution course of performing arts and its converged form with technology and industry in terms of the Contents Promotion Act. Since the 2000s, the inter-area contents making and sharing methods have been changing the making and distribution structure of performing arts. The recent production of performing arts contents live videos extends the areas of arts creation and communication beyond the time and spatial boundaries of performing arts and changes the existing systems. The performing arts which started with nowness and spatio-temporal restriction on the premise is now creating a new platform over the spatio-temporal boundary through the live video. Performing arts, in convergence with the areas of technology and industries, expands universal approaches and shows the public value of cultural fairness at public performing arts centers. In this context, this study aims at seeking the possible extension of performing arts contents by examining how the so-called high-class performing arts such as opera, theatre and classical music combines with the visual industry.

• Korean Association of Arts Management
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• no.55
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• pp.5-38
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• 2020

This study focuses on the emergence of "hobby-preneurs" and the ways in which they are transforming the virtuous cycle of arts and cultural ecology. The hobby-preneur pursues and expands his or her favorite hobby into a professional job and/or arts business. Hobby-preneurs are the new driving force in the arts and cultural industry. Their activities enhance the arts as a public good even as they build valuable social capital for arts organizations and have a profound impact on supply and demand in the arts and cultural marketplace. Thus we found that by injecting and potentiating certain values that professional artists cannot directly deliver to arts consumers, hobby-preneurs function as major intermediaries in the virtuous cycle of arts and cultural ecology. To understand more about these emergent actors we examine their personal, social, and economic values and how these values guide their arts-related activities and thereby impact the ecology of the arts and cultural sector. In this study we use a phenomenological approach to investigate five hobby-preneurs and the particular ways their acquisition of professionalism is transforming the arts education node of the virtuous cycle in the creative sector.

• Journal of Digital Convergence
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• v.18 no.8
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• pp.97-102
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• 2020

In this paper, the concept of the diversified cultural tourism industry in Korea and China was summarized and the research direction was suggested. Also, the characteristics and status of the cultural tourism industry were analyzed. As a characteristic of the cultural tourism industry in both Korea and China, it exhibited similar cultural tourism forms such as performances, theme parks, festivals, and museums. Korea had a unique cultural tourism form called Hallyu cultural tourism, and China is also a rare cultural arts complex in Korea. And has developed cultural tourism. The strength of the Korean culture and tourism industry is that it is rich in cultural resources and possesses many assets with cultural contents, and the strength of the Chinese culture and tourism industry is that it has abundant tourism resources and huge economic power. As such, Korea and China with many similarities were found to be a country with high interest and potential in the cultural tourism industry, which is growing into a high value-added industry in the future. In addition, in order to continuously and stably develop the cultural tourism industry, continuous efforts and interests and proper research must be conducted so that the two countries can coexist with each other.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.10a
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• pp.531-534
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• 2011

It can be said that film and game industries take core parts of the comtemporary cultural industry. For consumers in modern industry, cultural industry is immensely significant as much as other industries. Because consumers are spending proportionally more money on experiential and emotional needs and less on basics such as food, housing, and clothes. Cultural industry is the one that can give us 'cultural satisfaction'. Some may say the film industry is different from the game industry in genre. However, we have no difficulty in finding many common characteristics between them since we are living in the world where any content or genre cannot stand alone and contents' boundaries diversify themselves to meet consumers' demand in daily basis. The purpose of this study is to look into the impact of the film industry on the game industry and to show how these different industries can coexist successfully by creating a synergy effect.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.35-48
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• 2020

This study aims to find out the implications of the Chinese cultural industry by analyzing the successful factors of the IP acrobatic stage drama "Mongjiryeo," which was well received through internal and external performances by creating acrobatics repres enting traditional Chinese culture as a stage play that conforms to the trend of modern society. Th e findings are as follows. First, China's cultural industry grew and developed quantitatively and qualitatively based on the government's active promotion policy and the huge domestic market. Second, through challenges and changes to traditional culture such as acrobatics and costumes, creative standard presentation and practical experience were attempted as modern stage plays. Third, Oriental humanities ideas and emotions were introduced amid the reform and innovative changes of traditional culture. The results of this study will enable various free interpretation and expansion from a humanities perspective. And it could be used as a reference material for the study of the creation of new culture utilizing the analysis and approach of the traditional Chinese cultural archetype.