동아시아의 영상문화 교역과 그 서사 전략

A Narrative Strategy of Cinema Culture Trade in East Asia

&nbsp;&nbsp;Since China adopted an open-door policy and free cultural exchange between Korea and Japan started, the culture trade industry in East Asia has made remarkable progress with the usher of the 21st century. As is well exemplified by Chinese chivalry movies, Japanese animation, and the popularity of Korean culture in Asia, the successful export of a well-made culture content product is important to elevating a national image and the pride of each people and resulting in positive economic effects in the country by creating a variety of values added.<BR>&nbsp;&nbsp;In short, the success of the cultural product helps raise the sales of industrial products and products of tourism. The experience of such a success becomes a driving force in inventing cultural brands, expanding the infrastructure of cultural capital, stimulating the creativity of artists and leading them to be prolific in their artistic activities. To yield these positive effects, the government of each country is seeking ways to upgrade the cultural content industry as a nation&quot;s key industry.<BR>&nbsp;&nbsp;When the self-governed cultural value becomes a part of a nation&quot;s key industry, there is a great possibility that the cultural product can function as a strategy to establish a national identity and disguise a national image or play a significant role of promoting a specific ideology. Consequently, it can be said that the cultural content industry can be potentially used to constitute nationalism and totalitarianism. This possibility of the cultural content industry being misused is what needs to be dealt with from the perspective of humanities in the age of industralization of cultures and adoption of new cultures. In numerous modern narratives planned, produced, transformed, and made up by the cultural content industry, the question of how much truth or authenticity lies there appears.<BR>&nbsp;&nbsp;The exchange of narratives through culture trade in East Asia may act as an important factor of making community protests against not only the Cold Warnism in Korean Peninsular and an open-door economic diplomacy policy that instigates new freedom but also great power chauvinism of the EU and the U. S. A. As a result, efforts should be made to set up a literary art policy of humanities that can block the current market logic- and narrowminded nationalism-oriented trend or govern the production, the distribution, and the consumption of narratives that may promote the current undesirable trend. It also seems of importance to change stereotyped ideas about the culture content industry.