頁籤選單縮合
題名 | 綜觀螢幕配額制減半後的韓國電影產業=The Overview of Korean Film Industry after the Decrease of Screen Quota System |
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作者姓名(中文) | 丁祈方; 曾姝瑜; | 書刊名 | 傳播管理學刊 |
卷期 | 13:1 2012.06[民101.06] |
頁次 | 頁1-21 |
專輯 | 亞太傳媒趨勢與數位匯流 |
分類號 | 987.932 |
關鍵詞 | 電影螢幕配額; 韓國電影產業; The screen quota system; The Korean film industry; |
語文 | 中文(Chinese) |
中文摘要 | 韓國在1999年上映電影《魚》(Shiri,1999)一片後,因票房反應熱烈,遂成為近期韓國電影發展的重要里程碑。自此其國產電影市佔率逐年上升,電影的海外輸出在2005年達到最高峰的同時,也在2006年一舉衝上63.8%,達到韓國電影產業高峰。一時間,流行文化伴隨的韓流蔓延全世界,電影界也陸續出現許多後起之秀,將韓國電影送上國際影展。媒體形容這是一場爆發式的發展態勢。然而,電影配額制隨著美韓兩方經濟貿易不斷交涉,雖經過電影人團結地大舉抗爭,政府宣布在2006年韓國電影銀幕配額制從146天減為73天。電影銀幕配額制放寬後,韓國國產電影的觀影人次從2008年開始出現負成長的明顯下滑趨勢,近年並下跌到不足50%。同時,電影海外輸出也亮起了紅燈。電影的總票房收入中,單美國好萊塢出品的電影往往占了近50%的票房成績。韓國國產電影受到強勢美國好萊塢的威脅日益擴大,似乎在國內外已經失去往昔的榮景。曾經開創有燦爛成果的韓國電影,如何持續在這樣的狀況下,從商業與發行面、政策面與創作面,重新找其本身電影產業的榮景。本研究試圖從電影配額減半後的韓國產業面向上,分別依據電影票房、電影資金結構變遷、與電影題材和各項外在如政治及全球走勢等項目,進行探討梳理。 |
英文摘要 | The Korean movie 《Shiri》released in 1999was extremely popular and drew large Korean audiences. Thus, it became an important landmark in Korean film industry in the recent years. Since its outstanding success, the Korean film market share had been increased year by year; at the same time, the overseas exportation amount also arrived on the top in 2005. The pop culture that filled with nuance of “South Korean fad” has gained popularity worldwide. Many filmmakers showed their talent in the field of shooting. We could see their figures in the International Film Festivals with excellent movies. The mass media reported it as an amazing explosive grow up. However, good times never last. Even though the filmmakers made a protest, the government still announced that the screen quota system has to reduce from 146 days to 73 days in 2006. The main reason is the commercial relationship between America and Korea. The implementation of the policy results in negative growth of the amount of Korean movie audiences. The percentage was trending down to 50% or less in the recent years. Meanwhile, the overseas exportation amount had a crisis. The Hollywood movies occupy nearly 50% in the total box office income. America has been a serious rival to the Korean film industry. It seems that the glory of Korea does not exist anymore. Korea used to have a successful film industry. This article focuses on what are the Korean filmmakers taking to revive in this situation? We’re going to discuss this issue with two aspects: one is about the commercial and distribution, policy and creativity. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。