문화예술산업 육성을 위한 서비스 가치 네트워크 모델 구성과 특성 비교

Abstract

This is an initial study to establish a business model for the sustainable growth of the culture and art industry and to secure a virtuous-circle ecosystem. This study presents a general-purpose service value network model for the culture and art industry. Specifically, this study classifies the market of the culture and art industry into those of publishing, performing arts and painting. This classification is based upon the Culture and Arts Promotion Act. Furthermore, this study defines the main agent and role of value activities, and evaluates network relationships within the markets. This study analyses the general-purpose structure of the culture and art industry. Results of this analysis demonstrate that the consumption of the culture and art industry are characterized by both possession and enjoyment markets. In particular, in the provision of a content management service for artistic works in the enjoyment market, there are a variety of direct and indirect service enablers and their roles are found to be greater than those of other industries. In addition, the area of tier 2 enablers, who play the role of providers of raw materials in the culture and art industry, consists of both software, which is a source of creative activity, and hardware supply, which enables creative activities. The result of structural analysis conducted in this study on a single industry show a difference in the enabling area and the power of originators as dependent on the existence of other producers (publishing companies, agencies and so on). What’s more, the type of main consumption market is found to be decided by the characteristics of the culture and art products and by differences in the service enabler’s role as dictated by the central market. For instance, in the publishing market in which reproduction is easy, it has developed with a focus on the possession market, whereas the performing arts market has developed with a focus on the enjoyment market in which people watch a performance directly. This is thought to be primarily due to the on-the-spot nature of performing goods and the fact that such goods are time-bound. In the case of the market for paintings, however, it is characterized as both possession and enjoyment markets. The former because there are transactions of actual assets due to the uniqueness and originality of artistic works; the latter because the market is connected to education with the development of experiential products. The study concludes that pressing issues for further research include the need for greater agency in the area of production, with adjustment made to the role division between originators and agencies. The study argues that there is a need for a cooperation model among service enablers, development of a differentiated business model for the possession market and enjoyment market for the promotion of consumption of art products, art education that enables sustainable activities of consumption through improving the value evaluation and appreciation of art products and expansion in potential consumers to establish a virtuous circle through stronger consumer networks.