지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Are movies and T.V. programs cultural artifacts? Or, are they commercial products subject to trade policies? This difference in attitude is directly linked to government policies and laws; it is an ideological problem that can produce conflicts between the producers and users of media products.
In the center of the information highway is cinema, suitable for one-source multi-use, and it is none other than the Hollywood products that dominate the international market in this area. Since the 1970' s, the Third World countries have systematically put forth through the UNESCO a new paradigm called "the new information order," a resistant logic that asserts "the "free and fair flow," They have attempted to protect their own cultural values against the negative effects of the imported Western media. In response, United States and the European countries advocated the firm and unchanging value of "the free flow of information," maintaining that media products are industrial products rather than cultural. This discourse went into a deep recess when the U.S. and England, the primary financial supporters of the UNESCO, withdrew from the organization. France and other EU nations, deeply affected by the fall of their media industry since the WTO, revived the cultural argument at the UR conference. The U.S. responded with an adaptive attitude, announcing the dual pursuit of the cultural identity and free trade as equally valued paradigms, not as opposing ones.
The apparent changing attitude of the U.S. is hardly a fundamental change in their belief; it is clearly a strategic approach to pursue their interest ultimately, that is to expand their new media market. It is important to note that this aims at the complete nullification of the protective cultural logic. This it to point out that the protective policy based on the cultural logic, whether it is supported by the exporters or importers, is fragile one that is likely to fail altogether; it can only create conflicts, not protection.
The implication of this is that the Korean policy-making should be geared more towards the nourishment of competitive industrial environment that can embrace creativity and innovation, rather than insistent protection. The currents in the international economics are changing rapidly towards the unification of international markets and totally free competition. The Korean films industry has to learn to adapt to this logic and order, without which its survival and further development will be a flimsy possibility.
In the center of the information highway is cinema, suitable for one-source multi-use, and it is none other than the Hollywood products that dominate the international market in this area. Since the 1970' s, the Third World countries have systematically put forth through the UNESCO a new paradigm called "the new information order," a resistant logic that asserts "the "free and fair flow," They have attempted to protect their own cultural values against the negative effects of the imported Western media. In response, United States and the European countries advocated the firm and unchanging value of "the free flow of information," maintaining that media products are industrial products rather than cultural. This discourse went into a deep recess when the U.S. and England, the primary financial supporters of the UNESCO, withdrew from the organization. France and other EU nations, deeply affected by the fall of their media industry since the WTO, revived the cultural argument at the UR conference. The U.S. responded with an adaptive attitude, announcing the dual pursuit of the cultural identity and free trade as equally valued paradigms, not as opposing ones.
The apparent changing attitude of the U.S. is hardly a fundamental change in their belief; it is clearly a strategic approach to pursue their interest ultimately, that is to expand their new media market. It is important to note that this aims at the complete nullification of the protective cultural logic. This it to point out that the protective policy based on the cultural logic, whether it is supported by the exporters or importers, is fragile one that is likely to fail altogether; it can only create conflicts, not protection.
The implication of this is that the Korean policy-making should be geared more towards the nourishment of competitive industrial environment that can embrace creativity and innovation, rather than insistent protection. The currents in the international economics are changing rapidly towards the unification of international markets and totally free competition. The Korean films industry has to learn to adapt to this logic and order, without which its survival and further development will be a flimsy possibility.
목차
1. 서언
2. 영화정책의 문화적 논거
3. 영화정책의 경제적 논거
4. 지식ㆍ정보사회의 도래와 WTO시대의 새로운 논쟁
5. 결언
참고문헌
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