영화 불법복제와 문화 ― 중국과 한국의 사례를 중심으로
Film Piracy and Its Culture: the Cases of China and Korea
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Film piracy is not only the prevalent phenomenon in China and Korea but also the symptom that weakens and deconstructs the official order. Although the reason and way that audience uses pirate film and their response in China and Korea is different. And we acknowledge that we can discover its alternative perspective when employing the user's perspective, but not the industry, economy or political perspective. Film piracy revises the map of the power relationship between producer, distributor, government and audience. It is the moment that the audience who doesn't get the attention emerges as the dominant subject in the film industry. The existent social order such as the government and film capital is interested in control and regulation over the audience, neglecting the audience's discontent. The film piracy in China and Korea is one of choices that audience can select. In this regards, the activity of purchase or disseminating the pirated film can be interpreted as the loose resistance against the existent order. What is the more important is that user produces sub cultures such as the Xiaozi atmosphere (China) and Pye-in culture (Korea), utilizing visual product like pirated film. These cultures alter the negative significance, remaining the term as the traces. It is not the erasure but the revision. My article notices that the film piracy plays an important role in creation of subject and culture and reorganizes the knowledge and experience. New subject is formed in the subculture that escape the mainstream order.
Abstract
Film piracy is not only the prevalent phenomenon in China and Korea but also the symptom that weakens and deconstructs the official order. Although the reason and way that audience uses pirate film and their response in China and Korea is different. And we acknowledge that we can discover its alternative perspective when employing the user's perspective, but not the industry, economy or political perspective. Film piracy revises the map of the power relationship between producer, distributor, government and audience. It is the moment that the audience who doesn't get the attention emerges as the dominant subject in the film industry. The existent social order such as the government and film capital is interested in control and regulation over the audience, neglecting the audience's discontent. The film piracy in China and Korea is one of choices that audience can select. In this regards, the activity of purchase or disseminating the pirated film can be interpreted as the loose resistance against the existent order. What is the more important is that user produces sub cultures such as the Xiaozi atmosphere (China) and Pye-in culture (Korea), utilizing visual product like pirated film. These cultures alter the negative significance, remaining the term as the traces. It is not the erasure but the revision. My article notices that the film piracy plays an important role in creation of subject and culture and reorganizes the knowledge and experience. New subject is formed in the subculture that escape the mainstream order.
참고문헌 (27)
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