• Journal of the Korean Geographical Society
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• v.30 no.2
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• pp.132-145
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• 1995

The Purpose of this study is to integrate two opposite paradigms, (development from above) and (development from below), by means of A. Giddenss (structuration theory) and to provide practical development strategies on the basis of integrated paradigm. The integration of these two opposite paradigms is in fact the internalization of epistemological overcoming of 'dependency', which means the structural transformation of dualistic thinking into monistic thinking that the enlargement of capitalist world-system can be 'development' and it may also be 'dependency'. Therefore the practical main issue of this integrated paradigm results in how peripheral countries should achieve self-reliant and continuous development under the circumstances of dependency. To achieve such development while resisting the growing arrogance of transnational capital, development strategies should be prepared to maker revitalized political community designed to fit a human scale and for the economy to be subordinated to the political will of the community. And at the same time the 'empowerment' of people should be strengthened.

• 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.