Earticle

본 연구의 목적은 신호이론을 기반으로 중국 무빙툰의 흥행요인을 밝히는 것이다. 신호이론과 선행연구에 따라 본 연구는 액션 장르 여부, 전작 보유 여부, 메이저 제작사 여부, 원작 웹툰의 인지도, 그리고 성우의 스타파워가 무 빙툰의 누적 조회수에 영향을 미칠 것이라는 가설들을 도출하였다. 이를 검증하기 위해 중국의 대표적인 4개 무빙툰 유통 플랫폼(boodo, bilibili, 텐센트 만화, 마오얼 FM)에서 서비스되고 있는 총 225개의 무빙툰(2021년 8월 29일 기 준)을 실증연구 분석 대상으로 선정하였다. 검증 결과, 액션 장르, 메이저 제작사, 원작 웹툰 인지도, 성우 스타파워가 무빙툰의 흥행에 긍정적인 영향을 미치는 것으로 나타났다. 본 연구는 중국 무빙툰의 흥행 성공요인에 관한 최초의 실증연구라는 점에서 의미가 있다. 본 연구의 결과는 중국 무빙툰 산업뿐만 아니라 중국시장에 진출하고자 하는 한 국의 콘텐츠 기업에도 시사점을 제공할 것으로 기대된다.

The purpose of this study is to identify the success factors of Moving Toon in China based on signaling theory. In this study, based on signaling theory and preceding research, the action genre, existence of previous series, power of a producing company, original webtoon awareness, and voice actors’ star power of a moving toon were hypothesized to affect the cumulative number of views of a moving toon. For empirical investigation, 225 moving toons which were listed in 4 Chinese moving toon platforms(Boodo, Bilibili, Tencent cartoon app, Maore FM) were used as the sample. A hierarchical regression analysis was conducted to test hypotheses. Results suggest that the success of moving toon is affected by the action genre, the power of producing company, original webtoon awareness, voice actors’ star power of a moving toon. It is meaningful that this study is the first empirical study on the success factors of moving toon in China. It is expected to provide implications not only for Chinese moving toon industry, but also for Korean content companies which make their way into China.

지난 10년 간 예술인의 사회적 지위 및 복지에 대한 요구가 정치화되고, 노동자로서의 자기 정체성에 기반한 운 동이 조직화되면서 법제도적 변화와 정책적 관심 역시 확대되고 있다. 그러나 예술과 노동의 관계 및 현 시기 예술노 동의 성격에 대한 학술적 논의는 크게 진전되지 못했으며, 특히 젠더적 관점에서 예술노동을 분석하고 이론화하는 작업은 현저히 부족하다. 이에 본 논문은 예술과 노동의 관계를 다양한 이론적 자원을 통해 검토해보고, “탈상품화된 노동(decommodified labour)”이라는 개념을 통해 현재 신자유주의하에서 예술노동의 성격을 분석한다. 탈상품화된 노동으로서의 예술노동은 극도의 상품화를 통해 예술의 자율성이 소진된 시점에, 과거에 비해 더 긴 시간을 교육· 훈련에 투자하고 더 많은 시간을 그에 상응하는 경제적 보상 없이 일하는 예술인들의 노동 현실을 드러내고, ‘예술노 동의 정치화’가 일어나는 맥락을 이해하는 데 적합한 개념이다. 나아가 본 논문은 탈상품화된 노동으로서의 예술노동 에 대한 젠더적 접근법을 제시하면서, 현재 한국 사회에서 예술노동의 ‘탈상품화’ 양상을 제대로 그려내기 위해서는 젠더가 연령, 계층 등과 교차하면서 예술 분야에서의 노동구조 변화에 미치는 영향을 분석하는 것이 필요하다고 주장한다.

The past ten years have seen a rise in artists’ self-identification as ‘workers’ and the politicization of artists’ demand for welfare. Such campaigns have gained the attention of policy makers and brought about legal and institutional change. However, despite policy development, there has been limited scholarly discussion and theorization on the relationship between art and labour and the nature of artistic labour, with hardly any attention devoted to the gendered dimensions of artistic labour. In order to fill this gap, this paper explores the relationship between art and labour drawing upon various theoretical perspectives, and examines how the term “decommodified labour” can help us understand deepening poverty and the existential predicament of today’s artists. In a neoliberal age where the hyper-commodification of the arts has eradicated any hints of autonomy of the field, “decommodified labour” aptly encapsulates the changes within the art world where more and more artists are forced to work without pay, while at the same time required to be more versatile and flexible, and to invest longer periods of time in preparing themselves to be a working artist. This reality can be understood as a catalyst for the recent politics around the recognition of artists as workers. Moreover, this paper provides a gendered analysis in understanding the decommodified labour of contemporary artists. In order to properly explain the decommodification of art-based labour, the paper argues for an intersectional approach in which gender, intersecting with other forms of social division, works to (re)configure the conditions of cultural work and the meaning of being an artist.

본 논문은 국내 온라인 공연산업의 발전방안을 모색하고자 프랑스 온라인 공연산업 생태계를 분석하고 그에 따른 시사점 도출을 목적으로 한다. 이를 위해 프랑스 공연시장의 서비스 가치네트워크 모델을 도출한 뒤, 팬데믹 이후 나 타난 온라인 공연시장의 서비스 가치네트워크로 전환하여 프랑스 온라인 공연산업 생태계를 분석하였다. 국내외 공연산업은 코로나19로 인한 위기를 타개하고자 대면 공연에서 온라인 공연으로 전환하였다. 하지만 국내 공연계는 공연 제작에 있어서 업체 간 역량 차이, 수익 모델 부재, 라이브니스 재현의 한계, 공연자 법적 보호 장치 미비 등을 이유로 팬데믹 종식 후 온라인 공연산업의 지속가능성을 비관적으로 보고 있다. 반면, 프랑스는 단시간에 온라인 공연시장 생태계를 구축하였을 뿐만 아니라 독립된 산업으로서 성장 가능성을 보여주었다. 이는 지난 수십 년간 프랑스 정부가 펼쳐온 문화정책과 디지털 관련 정책들의 결과물로, 팬데믹으로 인한 급작스러운 환경 변화 속 에서 온라인 공연산업이라는 새로운 생태계를 구축하는 데 중요한 역할을 하였다. 프랑스 정부의 정책은 온라인 공 연산업 생태계가 자생할 수 있는 인프라 구축과 환경 조성에 초점을 맞추고 있다. 온라인 공연산업에 대한 정부의 지원은 거시적 차원에서의 정책적ㆍ기술적ㆍ경제적ㆍ사회적 환경과 조화를 이루며 온라인 공연산업 생태계가 자생 적으로 성장할 수 있는 토대를 마련하고 있다. 특히, 지난 20여 년간 펼쳐 온 스타트업 육성 정책은 온라인 공연시장 성장에 필수적인 기술적 토대를 마련하였으며, 스타트업은 온라인 공연시장이라는 새로운 시장을 개척하는 선순환 구조를 만들었다.

This study was aimed at analyzing the French online performance industry ecosystem in terms of the growth of the domestic online performance market and formulating the implications thereof accordingly. To this end, the French online performance industry ecosystem was analyzed by deriving a service value network model for industry and transforming it into a service value network representing the online performance industry that emerged after the COVID-19 outbreak. Domestic and foreign performance markets shifted from face-to-face-oriented performances to online-oriented performances to overcome the restrictions caused by the COVID-19 pandemic. Owing to the differences in capabilities between companies in the production of performances, the absence of a revenue model, the limitation of liveness re-enactment, and the lack of legal protection for performers, the domestic performance industry is pessimistic about the sustainability of the online performance industry after the pandemic is over. However, France built an online performance industry ecosystem swiftly and demonstrated its potential for growth as an independent industry—this is the result of cultural and digital-related policies implemented by the French government over the past few decades. They played a significant role in establishing a new ecosystem of the online performance industry amid sudden environmental changes caused by the pandemic. The French government’s policy is focused on creating the infrastructure and environment needed for the online performance industry ecosystem to thrive. The government’s support for the online performance industry exists in harmony with the policy, technological, economic, and social environment at the macro level. The online performance industry ecosystem is laying the groundwork for self-growth. In particular, the start-up nurturing policy—which has been implemented over the past 20 years—laid the necessary technological foundation for the growth of the online performance market. Start-ups created a virtuous cycle structure that pioneered a new market known as the online performance market.

이항대립적 사고에 저항하는 관점이 대두되면서 해외 대형미술관들은 LGBTQ 가시화를 주요 전략 요소로 삼고 블록버스터급 LGBTQ 전시를 기획하고 있다. 그러나 한국은 LGBTQ 미술을 특정할 만한 아트씬(art scene)을 찾기 힘들고 국공립미술관·사립 주류미술관에서의 한국 LGBTQ 미술전시의 자체적 기획 및 개최의 문은 닫혀있다. 본 연 구는 미술전시의 사회교육적 역할을 바탕으로 첫째, 행위자-연결망이론(ANT)을 바탕으로 한 사회적 행위자(social actor)로서 미술관과 행위자의 실천으로서의 LGBTQ 미술전시를 사례연구를 통해 논한다. 둘째, 한국의 LGBTQ 미술 에 대한 사회적 인식과 특성을 알아보고 혼합연구를 통해 LGBTQ 미술전시 경험과의 상호관계성을 정량적·정성적 으로 분석한다. 마지막으로 앞서 문헌연구, 사례조사 및 혼합연구 결과를 바탕으로 한국 미술관의 한국 LGBTQ 미술 전시 기획에서 고려할 점과 개선방향을 도출한다. 이를 통해 LGBTQ를 포함한 문화충돌적인 주제를 다루는 전시기획 과 운영에 유용한 전략과 방향을 제시하고자 하고 사회적 기관으로서의 역할을 재고찰한다.

With the rise of the perspective of resisting binomial confrontational thinking, large overseas art galleries are planning blockbuster LGBTQ exhibitions with LGBTQ visualization as their main strategic factor. However, it is difficult for Korea to find an art scene that can specify Korean LGBTQ art, and the door to the Korean LGBTQ art exhibition at the national and public art museums and the private main art museums is closed. Based on the social education role of art exhibitions, this study, first, discusses LGBTQ art exhibitions as a practical social action based on actor-network theory (ANT) through representative case studies. Second, it examines social perceptions and characteristics of LGBTQ art in Korea and quantitatively and qualitatively analyzes the interrelationship of diverse factors with LGBTQ art exhibition experience through mixed methodology. Finally, based on the results of literature research, case studies, and mixed research, considerations and directions for improvement are derived in the planning of the Korean LGBTQ art exhibition at the the national and public art museums as well as other main art museums in Korea. Through this, I intend to present strategies and directions useful for exhibition planning and operation dealing with cultural conflict topics, including LGBTQ, and reconsider our role as a social institution.

The COVID-19 pandemic had a major impact on American society broadly and within that, arts were one of the hardest hit sectors. Amidst the ongoing trajectory of the pandemic, the concept of resilience became a frequent concern. This article examines the many dimensions and facets of resilience and provides snapshots and examples of many kinds of efforts that have been taken to foster and enhance resilience for the arts sector in the United States, with a focus on the case of New York City, arguably America’s cultural capital. The first section explores the scale and scope of the pandemic’s ongoing impact on individual artists and the NY arts sector. The second section provides an overview of key examples of how the arts sector itself sought to assist its members during the first year of the pandemic. It also explores key efforts of national, state, and local governments to provide survival and relief assistance to individual artists, arts organizations, and cultural industries. The final section looks at tentative reopening and recovery efforts, including rethinking norms, expectations and practices as resilience begins to move toward adaptation and sustainability. It concludes with observations on future challenges in cultivating and finding resilience.

The arts and cultural sector have always had to navigate in a scenario of uncertainty, scarcity, and lack of institutional support. The pandemic of COVID-19 represented a unique crisis that affected cultural and creative production and made the sector reflect on how to address changes in the long-term. Although the impact was mainly negative, in some cases, it became an opportunity to promote disruption in philanthropy and other support structures. The main objective of the essay is to present the case of Puerto Rico, a territory of the United States located in the Caribbean that for various reasons has faced a scenario of recurrent crises in the last 15 years. Therefore, the COVID-19 pandemic, beyond being a disruptive phenomenon, turned out to be an additional event in a long list of natural, economic, political, social and health crises. This paper includes the discussion of two innovative initiatives implemented on the Island: a management services program through grants and a cultural employment program to provide salaries and benefits for artists.

This text deals with the example of cultural managers’ education format that follows the changes in cultural ecosystems that impact cultural professionals’ practice globally. The initiative called COSM (Culture, Organization and Sustainability Management) is tested in Finland and aims to re-define cultural management professionals’ role and competencies from the side of sustainability values. These values are approached in a particular way to adapt and strengthen the role of cultural managers when assisting all types of responsible or ethically balanced activities, in environmental, social, and economic sense. The goal of that format is also to strengthen sustainability values-oriented practices of leaders and employees of creative and cultural organizations or cultural heritage sites inside their ecosystems that include ethical and balanced cultural work environments. Finally, it deals as well with cultural professionals being prepared to respond to the unexpected and crisis circumstances. The sequence of the article content consists of three elements, the first refers to the metaphor of cultural ecosystems and gives the examples based on festivals. The second part of the article is the introduction of the COSM courses as the example case of the educational response to the current needs of the cultural management profession. The discussion on the cultural professionals’ identity is referred to in that fragment of the paper. The third component of the article presents the outcomes of the COSM educational experiment based on the feedback collected from participants. The concluding part is a summary that brings the perspective of cultural organizations' reality and the multiple roles of cultural professionals in the future.

During the COVID-19 pandemic of 2020, residents could no longer enjoy offline entertainment, and the demand shifted toward online entertainment. Internet-based entertainment gained a greater share of the market. Online games, live video, and cloud-based cultural activities have gradually become the main method of people's daily cultural life. It has emerged during the pandemic as an important pillar of urban and regional industrial upgrading and economic transformation and development. The integration of the digital cultural industry and other industries has spawned various new formats, contributing to the domestic internal circular economy during the pandemic. This study focuses on the development status of new formats in the digital cultural industry, analyzes the social context of the development of China's digital cultural industry, examines the development characteristics of new formats, point out the problems in the development of China's digital culture industry, and summarizes the overall development outcome of China's digital cultural industry.

The COVID-19 pandemic has caused much damage to the Korean cultural industries, yet, embedded in the crisis are hopes and discourses of opportunity for the post-COVID era. In the commercial field, K-pop entertainment companies have used the crisis as an opportunity to expand their online performance offerings and promote platform development. In contrast, the field of performing arts is still seeking to adopt effective, non-contact digitalization strategies capable of attracting audiences with lower technical skills, such as streaming existing performances online. In this paper, we compare the responses to the pandemic of the popular music industry and the performing arts sector through the lenses of sector resilience and government support. We found that, due to the economic structure of the idol-centric entertainment industry, K-pop entertainment companies with digital platforms have proven to be significantly more resilient in response to the COVID-19 crisis than the performing arts sector. Along with the digitalization and commercialization of their performance and idols, the K-pop entertainment companies have shown increased resilience and accommodated a larger audience with stronger relationships. We also analyze the effects of the government’s COVID-19 support policy on the music industry, the performing arts sector, and individual cultural workers in three main areas: mitigation policy, innovation policy, and recovery policy. We recommend that the performing arts sector build a more strategic understanding of audience relations and that the government promote innovation policies for the performing arts sector while taking into account differences between the resilience levels of various sectors.