프랑스 영화 현황분석을 통한 한국 영화 해외진출과 모색에 관한 연구

Abstract

For Korean film industry, the first half of the year 2010 was, without a doubt, the period of stagnation, both on production cost and audience sides. At the time when Korean film's domestic market size has been sluggish since 2006, expansion into foreign market seems indispensible. Through the study, I will not just focus on ways that Korean films can be exported to foreign markets but analyze Korean film's distinctive features and grope for the proper method to approach foreign film industry. In addition, I would like to discuss the matters by focusing on French film industry, the country with the name 'Suzerain state of the movie' as it announced the start of the 'factual film' and 'feature film'. After 1960's, Korean film's expansion into foreign markets was on the wane, but it spread its wings again in 1998 as the active participation in markets became possible through the advent of foreign distribution specialized companies. Along with the growth of Korean film, centered around Asia, Korean wave hit the world and in 2005, total number of 202 films were exported to 29 countries around the world. However, reaching the record high in 2005, Korean film's actual export record is showing falling tendency as it recorded 20 million U.S. dollars in 2009. Size of French film industry is the largest among European countries and it is leading the trend of global film industry with the U.S. by hosting numerous worldclass film festivals. One of the most successful Korean film released in France after 2000 was 'Ivre de femmes et de peinture' by Director Im Kwon-Taek. It was screened in 2002 and drew about 320 thousand audiences. Until now, many films by auteurisme directors which place great importance on director's name value have been exported to European markets and this trend still exists. However, recent Korean film industry is wandering about, lacking the ability to follow the trend of changing art film market due to several reasons including the absence of the nextgeneration director. Entering European markets can be beneficial in many ways and can bring lots of profits. Korean films, despite their continuous exportation to European markets, are still not making profits above Break Even Point. It applies not only to low budget films but also to the films that hit the Korean box-office. Winning at the international film festivals are not enough as a route to export films. As well as winning trophies, Korean film industry has to secure global distribution network and at the same time, it needs to seek exportation through co-production system that fully reflects cultural identity. Though Korean films are at the tied-up period, as the high domestic market share shows, audiences' encouraging response toward highly anticipated Korean films steadily remains. Further more, Korea might be the only country where Hollywood's furious attacks to conquer the market doesn't work well. Thus, it is time to let the whole nation and the whole world know the Korean film's rising status.