전 지구화의 대중문화, 한류 담론과 한국영화산업의 동아시아 진출

Global Mass Culture, Hallyu Discourse and the Performance of Korean Cinema East-Asia

This paper discusses the ways in which Korean cinema has penetrated into other East Asian markets, especially Japan and China, and is a critical review of the historical process of hallyu(the Korean wave). As a result of Korean domestic market growth since the late 1990s, Korean films have made significant inroads into overseas markets from 2000 to 2005. There has been a clear distinction in regional preferences when it comes to the types of Korean films chosen. In 2005, 87% of Korean film exports were to Asian countries; 79.4% went to Japan. Direct exports are still the majority of Korean cinema’s advance overseas but the industrial strategies are more diversified. Since 2004, an increasing number of films have been pre-sold to Japan before completion, but revenues of them have not enough to keep a higher price than before. As there was deploring that hallyu is a bubble, a pinch and already done, the Korean film industry needed to reorganize its strategy. Localization focused on China from that time forward, was different from earlier trials in terms of its soft nationalism, which remove their national signs in the cultural products. Korean film industry participating in multi-national co-productions was thought to be the better way to enter into the Chinese market. Post-hallyu, or soft national strategy which is concerned with the removal Korean films of a ‘Korean odor’and with making international product for Asian markets. It shows us that hallyu has moved onto another stage of globalization by multi-nationality and trans-nationality.