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本论文对于中國文化産業的發展歷程和特徵的硏究｡ 硏究的背景有關大國堀起時代的‘文化强國’‘文化價値’的浮上｡ 硏究的目的是對于這樣‘文化中國’基礎文化産業的批判的分析｡为了本论文設定硏究範圍10.5規劃和11.5規劃10年期間(2001-2010)进行了研究｡ 在本文第一章分析中國文化産業的槪念及特殊性, 在第二章平價文化産業發展階段, 在第三章定義發展歷程的特徵就是<政府主導型市場化發展模式>, 在第四章分析成果和限界, 在最後章展望將來中國式文化産業發展模式的前途〪｡總結, 中國文化産業是<政府主導型市場化發展模式>, 本硏究進行論證三個方面, 上命下達式政策, 市場化推動, 行政管理部門改革｡ 因爲中國政府對于文化産業的觀念出了經濟層位以外認識政治意識形態的中層要因｡ 爲了解決統制‘文化’同時發展‘産業’的矛盾, 植根中國式<政府主導型市場化發展模式>｡將來展望持續政府主導的文化産業發展模式, 但是從中長期的看法來說,處在政府-市場之間善循環模式‘政府管理型’的過渡時期, 有可能歸結發展以政府中心爲同伴市場和大衆的‘協治型’中國式模式｡

중국의 문화산업은 2000년대 이후 급속한 성장을 하고 있으며 이미 국민경제의 중요한 부문으로 발전하고 있다. 중국의 문화산업은 1993년~2001년의 초보적 발전단계를 거쳐 2002년~2010년에는 전면적 발전단계에 진입하였으며 2011년 이후부터는 전략적 발전단계에 접어들고 있다. 문화산업이 급속한 성장을 하고 있지만 몇 가지 구조적 문제점을 가지고 있다. 즉 문화수요와 문화공급의 불균형하고, 저부가가치의 문화산업이 상대적으로 큰 비중을 차지하고 있으며, 문화산업의 규모의 경제가 미약하고, 문화산업을 선도할 인재가 부족하며, 시장과 정부의 모순적 관계가 존재하고 있다. 제12차 경제사회개발 5개년 계획에서는 이러한 구조적인 문제점을 해소하기 위해 국유기업의 법인화, 문화와 금융의 융합, 문화상품의 고부가가치화, 수출지향형 문화기업의 육성, 외국인기업의 적극적 유치, 법률과 제도적 기반의 확충 등 구체적인 정책들을 제시하고 있다. 그러나 중국의 문화산업 발전정책은 지나치게 공급적인 측면을 중시하고, 정부의 역할이 과대하게 강조되고 있으며, 인재육성에 대한 구체적인 계획이 부재 등의 문제점이 있다.

The cultural industry has grown rapidly after 2000 in China, has been became the important factor in nation economy. The cultural industry passed the early stage from 1993 to 2001, entered the overall development stage from 2002 to 2010, and placed in the strategic development stage after 2011. Although the cultural industry has grown rapidly, but there are some structural problems. The cultural demand and the cultural supply unbalanced, the lower value added cultural industry has higher proportion, the scale economies of cultural industry are small, the leading talent person are scare, there exist the contradictional relation between the market and the government. For the purpose of the improvement, the 12·5 planning suggests some policies, the corporation of SOEs, the merge of culture and finance, the higher value added of cultural goods, the development of the export-oriented cultural corporation, the inflow of the foreign investment corporation, the establishment of law and institutional base. But the cultural policy also has some problems. The cultural industry development policy seriously considers the supply side, and overestimates the role of government, there are not exist the education planning of the talent person.

본 논문은 중국의 문화산업의 발전에 대해서 부문별 발전특징과 지역별 발전특징을 분석하고 있다. 중국의 문화산업은 크게 공익성 문화산업과 경영성 문화산업으로 구분할 수 있다. 개혁개방 이전에는 주로 공익성 문화산업이 주류를 이루고 있으나, 개혁개방 이후에는 경영성 문화산업이 급속도로 발전하고 있다. 그러나 실질적인 성장을 나타내는 것은 2000년대 이후부터이다. 경영성 문화산업 중에서도 문화오락산업이 가장 큰 비중을 차지하고 있다. 특히 PC방은 중국의 문화오락산업을 선도하는 업종이다. 즉 중국의 문화산업이 아직까지는 고부가가치적인 업종보다는 저부가가치적인 업종에서 집중적으로 발전하고 있다. 지역별로는 상해시, 절강성, 강소성, 광동성, 사천성, 산동성의 문화산업 부가가치 비중이 가장 높으며, 이는 지역경제발전 수준과도 밀접한 관련이 있다. 지역별 집중도를 보면 C5가 38.31%이고 C10은 59.34%이다. 2009년을 기준으로 중국의 문화산업은 전체 GDP에서 0.3%만을 차지하고 있다. 그러나 경제발전 수준이 높아짐에 따라 문화수요는 더욱 증가할 것이며 이에 따라 문화산업도 급속한 발전을 할 것으로 예상된다.

This paper analyses the structure and characteristics of cultural industry in China, from sector and regional approach. The China cultural industry could divide the public sector cultural industry and management sector cultural industry. In the pre-the reform and opening policy period, the public sector cultural industry had an important roles, but in the after-the reform and opening policy period, the management sector cultural industry have an important roles. The cultural entertainment industry become the major sector. In particular, the internet bar leads the cultural entertainment industry in China. The lower-value added cultural industry sector more developed than the higher-value added sector in China. The cultural industry of Shanghai, Zhejiang, Jiangsu, Guangdong, Sichuan, Shandong regions more developed than another regions in China. The development of cultural industry and regional economic development have an strong relations. The regional concentration index C5 is 38.31%, and C10 is 59.34%. The proportion of cultural industry in 2009 GDP is only 0.3%. But, along with economic development level, the cultual demand also could increase, and the cultural industry also would develop.

中國的文化產業最重視軟實力戰略的環節. 中國在2000年以前只將文化看爲一種意識形態手段, 而不是產業. 中國在過去的很長時間中都是由政府以一種意識形態手段的方式統治文化, 不曾將文化看成是進入市場原理的產業. 所以中國在從2001年進入國際貿易組織後, 對於文化產業的認識開始產生變化. 中國開始意識到如果中國無法順應世界文化產業的變化, 中國的文化將會萎縮, 文化產業將會無法發展. 可以從兩個方面看待中國的文化產業. 政府積極發掘可支援部分進行集中支援的同時也引進海外的文化產業進行規制, 通過這兩項政策促進文化產業發展. 即中國通過積極介入采取支援和規制兩條路徑來促進文化產業政策. 中國文化產業政策知識生產機制通過黨和政府, 特別是文化部的努力得到了顯著的成效. 特別是文化部內部的文化產業司, 文化市場司和政策法規司對中國文化產業做出並實行了長期戰略方向. 依據文化產業屬性, 文化部外部的國家廣電總局, 國家新聞出版總署, 國家發展改革委員會, 國務院研究室, 工業信息化部等都參與到文化產業政策的知識生產中. 中共中央宣傳部也從宣傳和意識形態方向幹預文化產業政策. 另外黨和政府從外部進行專家座談會, 發表會, 討論會等各種方式來促進文化產業政策生產. 文化產業政策知識通過黨和政府, 外部專家等多方面的參與而產生了, 名爲“中央文化體制改革工作領導小組”的議事協議機關對文化產業進行調整. 電視劇政策是由廣電總局電視劇管理司來進行管理. 參與的外部專家主要是來自中國傳媒大學文化產業研究院, 北京大學文化產業研究院, 清華大學國家文化產業研究中心, 人民大學文化創意產業研究所等文化產業的各個領域的專家們.

This paper analysis the productivity of regional cultural industry in China, from 2005 to 2009. Along with rapid economic development in China, the cultural industry also developed in the reform and opening-up policy period. This paper uses Malmquist Index analyzed the regional productivity of the cultural industries, include art industry, library industry, public culture services, culture market management institution. The result finds that the regional culture industries have high level productivity improvement from 2005 to 2009, and the culture market management institution and art industry have respectively high level productivity improvement from 2005 to 2009. In the culture market management institution, the Internet bar have respectively high level productivity improvement. As a results, this paper find that the potential of culture industry is very large in each regions.

This study studies a theoretical model of craft cultural industry cluster and a strategy to set up the cluster. The theoretical aspect of craft cultural industry cluster emphasize the distributive center and touristic attractiveness as a necessary condition to catch up a strategy to pursue the cluster. The reasonable set up plan of the cluster can be summarized as three stages; a distributive cluster, a cultural industries complex, a cultural industry innovation cluster. The survey to the craft firms shows that the designed concept of the craft cultural industry cluster has enough demand and is expected to perform much positive contributions to support and improve craft industry. The paper is assumed to provide a good example of the theoretical study of the cultural industries cluster and stimulate theoretical studies of the other individual cultural industry clusters.

Today, it is crucial to understand one's own traditional culture as well as others. By learning traditional culture, students can consider the distinct characteristic of their own culture and culture universality. Also creative activities education in traditional culture industry field make it possible for students to develop creativity and build their character. This study provides activitity program for the Bucheon Atelier Street. This program composes cognitive constituents which are problem-solving, divergent thinking, visualization skills, critical thinking. Also, it includes factors which are diversity, autonomy, creativity,curiosity, interest, immersion. In addition, it help to build character implements which are cooperation, responsibility, consideration, pride. This program consist of 5 steps: beforehand activity, researching material activity, experiencing an on-the-spot activity, other experiencing activity,arrange activity. Beforehand activity is planning and getting prior knowledge process. Researching material activity is about 7 intangible cultural assets in Bucheon Atelier Street. Other experiencing activity is producing brochure or advertisement poster. Lastly, writing essay and presenting and evaluating are conducted in the arrange activity.

The idea of a ‘culture industry’ obviously combines culture with economism. In the 1930s, the Frankfurt school used the term in order to indicate the merger of culture and industry in the capitalist mass culture, and it became a flash point of social debate. Today, as a product of the postmodern phase of capitalism searching for ‘marketable difference’ in every corner of the globe, the culture industry formed the socio-economic landscape of our globalization era. In this paper, I examine the socio-cultural meaning of global culture industry of Broadway musical in relation to our Korean musical industry from the perspectives of cultural studies. According to the researchers of cultural studies, globalization refers to the disjunctive flows of people, goods, technologies, capitals, images, etc. Following Arjune Appadurai, I explore the five global flows of musical industry. Globalization is a twofold(multifold) process of global domination and dissemination. In other words, global and local are the two faces of the same movement from one epoch of globalization. Therefore, it is not an easy task to map out the complicated web of trajectories and interactions of globalization, nationalism, and localism transpiring around the production and consumption of musical performances. Nevertheless, cultural studies provide us with tools of explanation and interpretation regarding the global fad for musical performances. Especially, I pay attention to Broadway mega-musicals produced by such multinational corporations as Disney. I assert that we need to take the socio-cultural meaning of Disney musical productions because not only do they influence the public consciousness in the realm of American culture but also they affect the life styles of people from other cultures by disseminating the images of American life styles. Adopting the concept of culture as ‘journey’ or ‘flow,’ I try to sketch the seeming global flow of Broadway musical, rethinking the (im)possibility of emergence of global musical culture. I agree with Anthony Smith in that he rejects the possibility of singular global culture. Since cultures and cultural interactions are so complicated, we need to discuss the global flows in terms of cultural dynamics. In this sense, we can explain why our mainstream mega-musicals contain nationalist propensity. Also, we can make meaning of the emergence of little musical movement and the community-based musical theatre in our nation.

It is important for Korean cultural industry to raise the efficiency of the departmental and local company activities which can progress continuously and effectively. So evaluation of cultural industries is needed to see how it works to estimate, analyze and evaluate the efficiency of each departmental and local industry and then apply those to a control factor for later, and the efficiency evaluation is very important to realize them. Purpose of this study is to find the way for cultural industry to progress according to the results. So, we collected the departmental and local companies data (Decision Marketing Unit: DMU) and then analyzed them with DEA (Data Envelopment Analysis) model to evaluate the efficiency. The data in this study is from Mun-Hwa-San-Eop-Baek-Seo 2001∼2008. We divided them into two groups and analyzed. The departmental industries data is from 2003∼2007 and the local industries data is from 2007∼2008. Based on this data, we analyzed the comparative efficiency of the data of 50 DMU (Decision Making Unit)s of 10 departmental industrial companies (publication, comics, music, game, movie or video, animation, advertisement, broadcasting, character, digital education and information) for 5 years (2003∼2007) which are the objects of cultural industrial supportive policy and 32 DMUs, which are 7 contents industries(publication, comics, music, movie, animation, character, edutainment) in 16 areas(Seoul, Busan, Daegu, Inchon, Gwangju, Daejeon, Ulsan, Gyeonggi-do, Gangwon-do, Chungcheongbuk-do, Chungcheongnam-do, Jeonrabuk-do, Jeonranam-do, Kyoungsangbuk-do, Kyoungsangnam-do, Jeju-do) for 2 years(2007∼2008). And we divided 32 DMU which are the objects of local industries evaluation into two groups considering the similarity of administrative area. One group is consist of 14 DMUs of 7 metropolises; Seoul, Busan, Daegu, Inchon, Gwangju, Daejeon and Ulsan, and another group is consist of 18 DMUs of 9 provinces; Gyeonggi-do, Gangwon-do, Chungcheongbuk-do, Chungcheongnam-do, Jeonrabuk-do, Jeonranam-do, Kyoungsangbuk-do, Kyoungsangnam-do and Jeju-do. We applied the basic theory of DEA model which is the tool for the scientific and rational comparative evaluation to evaluate the comparative efficiency. We used WARWICK DEA S/W for Windows Program which can analyze the data in various ways as actual proof tool.

The purpose of this study is to prove the importance of culture industry by measuring and analyzing the contribution of culture industry to economic growth in Korea over the period between 2004 and 2007. This study used the Cobb-Douglas production function under the neo-classical growth theory as the analytical model. The Model is designed to measure the contribution of culture industry on economic growth. As a result of this analysis, the following findings are obtained: First, this study identifies the contribution of culture industry on economic growth, 0.7%p in 2004, 0.4%p in 2005, 0.4%p in 2006, 0.07%p in 2007. Second, this study identifies the contribution rate of culture industry on economic growth, 9.8% in 2004, 10.1% in 2005, 9.1% in 2006, 1.1% in 2007. The results of this analysis empirically proved that culture industry have made a contribution to the economic growth in Korea over the period between 2004 and 2007. Finally, this research suggested the appropriate research subject of culture industry in aspect of effectiveness.

모든 국가들은 발전전략을 수립할 때 무엇보다 중요하게 고려해야 될 요소 중의 하나가 지속가능발전인데, 이러한 측면에서 문화산업은 매우 유효적절한 분야라 할 수 있다. 본 논문은 중국문화산업의 수요자인 중국 대중의 가치를 극대화시키는 분석방법인 3C(Company, Customer, Competitor)를 통한 정부, 기업, 소비자 등 시장참여자별 세부적인 분석으 로 공급자위주 시장에서 수요자위주 시장으로 급변하는 중국문화산업을 보다 객관적으로 이해하고 향후 시장진입 후의 Risk Hedging에 유용한 정보를 제공하기 위함이다. 중국문화산업은 발전과정 및 중국 산업구조의 고도화 정도, 소비자들인 중국대중들의 소비성향, 중국정부의 의지 등을 고려한다면 중국의 문화산업 내수시장의 규모는 지속적으로 증대될 것이 확실하다. 다만, 시장규모의 증대가 시장 참여자간 다양하게 인과 되어 영 향을 미칠 것이고 이에 따라 향후 나아가야 할 전략적인 방향도 차이가 날 것이다. 중국문화산업시장에 참여할 정부 및 기업에게 다음과 같이 제 언한다. 정부는 중국문화산업의 조사연구에 보다 박차를 가해야 한다. 문 화산업 관련기업들은 시장진입의 성공제고를 위한 피드백 시스템이 필요 하다. 또한 기존 성공모델의 벤치마킹을 통한 기업에 optimized된 모델구 축이 이뤄져야 한다. 이와 함께 시장진입에 필요한 조사시스템을 갖춰야 한다. 이를 통해 중국 시장 진입시 진출지역 및 진출분야의 고려가 이뤄 져야 한다. 이에 단기적으로 대중문화 등 문화상품의 저변을 보다 확대해 야 하며 장기적으로 기존 한국적 문화코드로 대변되는 ‘한류’의 재조명이 필요하다. 이러한 장기목표의 달성은 궁극적으로 우리의 지속가능성장모 델(Sustainable Growth Model) 중 하나로 확립될 것이다.

Most of all nation establish development strategy plan, One of most important factor is sustainable development. In this point, Culture industry is very useful and effective. This study‘s majors analysis methods, for maximizing Chinese culture industry consumer’s (just as Chinese people) values, is 3C (Company, Customer and Competitor) method. main purpose of this study is for on this detailed analysis method more objective understanding Chinese culture industry and offer useful data about risk hedging after entry into market in the future. Considering Chinese culture industry development history, China industry structure, Chinese people’s propensity to consume and China government intentions, It is certainly that the domestic demand market scale of Chinese culture industry is constantly increasing. However, the market scale increases influence various factors between market participants, hence strategic direction have differences in the future. This study suggests government and companies joining inChinese culture industry that government has important in research of Chinese culture industry and that for improving entry market, companies related in culture essentially need feed-back system, and in regards to existing success models establish optimized model by benchmarking analysis tool. Furthermore, Companies should make up of research system for entry market. On these various solutions when companies enter into market, they should consider entry areas and entry fields. In the short term we should expand and magnify culture commodity base and in the long term should re-illuminate “The Korean Wave－Hanllyu” representative of existing code of Korean culture. Ultimately, In achieving long term goal, We can establish one of our Sustainable Growth Model.

Recently, there is an epoch-making change in an educational curriculum related to the concern at a medium. These changes are being found in the middle and high school education courses first, in that teenagers can be more sensitive to the medium. This paper is aimed at proposing a view for literature subjects that are being newly organized because of the changes in the storytelling genres. For this goal, we have examined the recent cultural effects that are being created from the literature objects to storytelling industries and analyzed the potential of storytelling as their common elements between literature and the storytelling industries. In today's world, with the contents and platforms being separated because of the merger of broadcasting and correspondence, the contents itself has become increasingly important. Also, within the multiple platforms, contents that have the same substances are starting to change their medium, having it being very mobile and within this, the core competence for a successful source, storytelling has become an important variable within the cultural industries in creating an additional-valued profit. Because of this change, not only will literature work provide good quality sources in operating the cultural industries but it will also evolutionize within its boundaries as well. Writers are now not focusing on their articles but are trying to create stories that can always be changed to another media. Classical literatures are also not being stubborn in their old ways but have started to change into a new form so that it fits to the new generations. For a long period, we have always liked stories and wanted to listen to stories from other people. This is because stories are being applied to us as an important method that finds our true characters within us through the various kinds of cases within the world and by unknown information. These stories started out from oral statements to a printing medium and coming into the 21st century, it has expanded its fields to the digital media and to other various kinds of mediums as well. People now tend to sublate indulgence in reading, enjoying stories in various types and forms. As it has remarkably been found within the teenagers, we need to grow out of the former literature educations in the educational curriculum and teach them using various kinds of mediums and covering all sorts of story genres. With those novels that were written in third-rate journalism newspapers being admitted into the education systems of schools, this has upgraded the arts attainments within these schools and with popular culture also entering the education system, this will increase the instinct of arts to the students and increase their educational effects as well.

Coming society will be transferred to a highly information-oriented society. To build an advanced society with high national competitiveness, cultural industry and IT technology are becoming more important. Recently, the promotion of cultural industry is a main driving force in revitalizing the economy of many local governments in Korea. This article examines the type of cultural industrialization in GyeongGi-Do. Firstly, the preconditions for cultural industrialization of 31 regions in GyeongGi-Do were reviewed through the research surveys. Secondly, the strategies of cultural industrialization in GyeongGi-Do were divided into three types such as the city of cultural industry cluster, the city of cultural complex and the city of cultural consumption. Finally, this article provides desirable directions and implications of future cultural industrialization of GyeongGi-Do.

In dieser Arbeit geht es um den Kolner Karneval, der 'Content' der Kuluturindustrie der Region ist. Heutzutage bedeutet 'Contents' nicht nur Textinhalte, sondern die Industrialisierung der Kultur durch die Digitaltechnologie. Wenn es jedoch um das Schaffen von Profit geht, muss man den Begriff ‘Contents’ nicht auf die Kulturindustrie durch die Digitaltechnologie begrenzen. Denn die Lokalfeste sind nun ein wichtiger Faktor fur die Wirtschaft und die Entwicklung der Region. In diesem Sinne ist der Kolner Karneval eben ‘Content' der Kulturindustrie der Region. 1823 wurde der Kolner Karneval reformiert und erhielt bis heute die damalige Form. Jedes Jahr wird er jedoch nach einem neuen Motto, das ein aktuelles gesellschaftliches Thema enthalt, gestaltet. Daher ist der Kolner Karneval zukunftsorientiert und innovativ und ubernimmt gesellschaftliche Verantwortung. Daruber hinaus hilft der Kolner Karneval, Kindern und Jugendlichen eine Basis und Perspektiven zu geben. Schließlich hat der Kolner Karneval eine Spiegel- und Bildungsfunktion, er ist gesellschaftskritisch, werteorientiert und unabhangig. Nicht zuletzt ist der Karneval ein wichtiger Wirtschaftsfaktor fur die Gastronomie wie fur viele andere Branchen und auch fur die Stadt. Und der Kolner Karneval ist ein Magnet fur Touristen. Zusammenfassend gesagt, ist der Kolner Karneval ein wichtiger Faktor der Kulturindustrie und der Entwicklung der Stadt Koln.

Since 2000s, there has been growing interest in cultural policy as a key factor for developing national industry. This study aims at analysing the governance system of regional cultural industry clusters in Korea. For the purpose, this article uses six governance related variables including community, rule, financial resource, human resource, direction of partnership and intensity of partnership. This article carries a literature study, case study and interview study on eight regional cultural industry clusters. The result shows that in terms of community's relevance, only Daegu and Daejeon are pertinent. Financial support from private sector and human support from local governments are not sufficient. In terms of partnership, interaction among university, research center, cultural industry are not very active. The conclusion provides the relatively low level of governance on community and partnership.

부르디외의 장이론은 미디어와 문화산업의 연구에 유용한 이론적 틀이 될 수 있을까? 영미권의 일부 저명한 미디어 연구자들은 이와 관련해 상당히 부정적인 견해를 표명한 바 있다. 이 글은 그러한 견해 가운데 최근의 것이자 가장 체계적인 것 가운데 하나인 데이비드 헤스먼달프의 부르디외 논평을 비판적으로 되짚어보면서, 장이론의 적절한 활용조건을 탐색하려는 목적을 지닌다. 본문은 크게 세 부분으로 구성되었다. 먼저 문화생산 장이론의 특징과 헤스먼달프의 장이론 비판을 핵심적인 논점들 중심으로 간추려 정리하였다. 다음으로는 부르디외와 그의 동료연구자들이 내놓은 만화와 출판부문에 대한 연구 성과들을 참조하면서, 미디어 생산과 문화기업이 장이론 안에서 어떻게 다루어질 수 있을지 구체적으로 검토하였다. 이는 헤스먼달프 논의에 대한 일정한 비판을 포함한다. 마지막으로 장이론의 방법으로서의 성격과 함께, 그 적절한 이용방식을 논의하였다. 전체적으로 볼 때, 장이론은 나름의 한계에도 불구하고 미디어와 문화산업의 연구에도 쓸모 있는 분석틀이 될 수 있다는 것이 이 글의 기본주장이다.

Could Bourdieusian field theory be useful as an alternative framework to investigate media and cultural industries in the late capitalist society? Some famous anglo-saxon media researchers have negatively answered to this question. In this paper, I tried to present both the strengths and the problems of field theory when applied to the analysis of media and cultural industries. With this purpose and perspective, I developed my argument in examining critically David Hesmondhalgh's recent comments on the limits of field theory. I especially pointed out some of his misunderstandings by referring to some neglected works of Bourdieu and his associates on the field of printing industry. Taking specific examples in these works, I explained what kind of conceptual toolkit and analytical procedures are mobilized by field theory in the study of media production and to what extent they could be productive. I finally proposed to regard field theory as an 'open methodological program' which helps to generate relevant research questions in the mode of relational thinking.

An Analysis on FTA Effects of Cultural Industries between Japan and Korea