Busan

Bu çalışma, HÜ BAP Birimi tarafından SBI-2017-16354 koduyla desteklenen projenin Güney Kore saha araştırmasından üretilmiştir. Güney Kore saha çalışması Kore hükümetinin farklı yaratıcı endüstrilere destekleri ve kültür politikaları üzerinedir.
Bu çalışmada Güney Kore hükümetlerinin yaratıcı içerik endüstrilerinden biri olan sinema endüstrisine yönelik kültür politikaları ve düzenlemeleri tarihsel bir bağlamda ve ekonomi politik bakış açısıyla değerlendirilmiştir. Kore Film Konseyi’nin (KOFIC) Kore’de sinema endüstrisinin gelişmesindeki rolü ele alınmıştır. Ayrıca, Kore sinema endüstrisinin mevcut ve gelecek sorunları sıralanmıştır.

Anahtar Sözcükler: Güney Kore hükümetleri, yaratıcı endüstri, sinema endüstrisi, Kore sineması, Kore Film Konseyi.

SOUTH KOREAN GOVERNMENT’S CULTURAL POLICIES
AND REGULATIONS FOR THE MOVIE INDUSTRY

Abstract
The South Korean government’s cultural policies and regulations for the movie
industry are analyzed from the perspective of political economy in an historical
context. The role of the Korean Film Council (KOFIC) in the development of the
movie industry and the current and the future problems of the industry are also
discussed.

Keywords: South Korean government, creative industries, movie industry, Korean cinema, Korean Film Council.

Modern Korea witnessed a historical transition from the Daehan Empire (1897–1910) to the colonial reign
(1910–1945). During this time, over seventy Australian men and women voluntarily came to the Korean peninsula in
order to enlighten the Kyŏngnam province. While the colonial policy was harsh, the social workers under the spirit of the
Student Volunteer Movement (SVM) introduced a liberal ideology. The focus of these people included improvements in
education, health, and culture for the less privileged, such as women and children. How did they then involve the public
health of Korea? What was their strategy to improve the local health in Kyŏngnam province? What was their influence
on the modernisation of Korean medical science? This paper not only explores the testimonial sources of official
correspondence, personal diaries, local and international newspapers, original publications, and diplomatic documents,
but also argues the insight that the introduction of modern medical and health technology positively challenged the
traditional concepts of sickness and treatment, especially for child welfare, leprosy, and mental illness.

This paper will generate fresh insight into arts and cultural management in Korea by exploring the contemporary art sector in Busan. It will start with a brief overview of the city of Busan itself. Before examining the contemporary art sector in Busan, it will describe the film industry in Busan as its dominant art form, which is also related to contemporary art in many ways. The following part of this paper moves on to describe in greater detail the sector of contemporary art in Busan covering its infrastructure, key business models, and local participation along with the arts governance, policy and legal structure impacting on it. Besides, this paper will discuss Busan’s art and cultural relationship with Australia. Then, a summary of the main findings, together with recommendations for arts and cultural management projects from Australia to Busan, will be provided in the final section.

Subject: Art and Cultural Management in Asia

Onlar, New York'un yerinde yeller eserken gök kubbe gibi yüksek, haşmetli ve derin kurşun kubbeler kurmuş, kurdurmuştu Asya'nın dört bir yanına. İpeği elleriyle Bursa bahçeleri gibi nakışlamışlar, mermeri halı dokur gibi yontmuşlar, nehirlerin bir kıyısından öbür kıyısına ebemkuşağı gibi atmışlardı kırk gözlü köprüleri. Sömürgeci devletlerin lügatinde henüz hürriyet ve kardeşlik gibi kelimelerin olmadığı çağlar boyunca zulme karşı savaşmışlar, bağımsızlık uğruna milletleri kardeş sofrasına çağırmışlardı.
Onlar; Seul, Pusan, Tegu ve daha birçok şehirde Güney Kore bayrağının dalgalanışına omuz veren Türk bayrağını göndere çekerek, Güney Kore'nin istiklali için can verdiler. Onlar, belki geride bıraktıkları bir çift göze sevdalı ve ürkektiler. Belki toprak gibi akıllı, belki gençlik gibi cesur, belki ömürlerinde ilk defa denizi gördüler..

This year forms a landmark anniversary for the recently concluded Busan International Film Festival (BIFF), an event which has become synonymous with the dynamic reputation actively cultivated for this port city. In the span of two decades, this annual affair has surpassed its humble origins as a local project initiated by committed cinephiles which, with decentralized state support, organized screenings of curated films across four independent cinemas in Nampo-dong’s theater district to emerge as a leading film festival in Asia. Unbeknownst to casual tourists who still associate the BIFF Square in Nampo-dong as its primary venue, most of its scheduled events are now held at Centum City following the
inauguration of the iconic Busan Cinema Center complex, designed by acclaimed architecture practice Coop Himmelb(lau) in 2011. The planned relocation was in response to ever-increasing attendance by industry professionals and general cinema-goers alike. Since tourism and the multi-media industry are identified as among the key sectors that could propel the city’s regeneration and resuscitate Busan’s economy in the
current millennium, the former Sujeong airport site was thoroughly redeveloped and relaunched as Centum City, the designated film and media hub for Busan. Located on the western periphery of Haeundae-gu, this newly constituted sub-centre, like the recent resort-cum-commercial skyline hemming Haeundae’s famed beach, conveys an image that is devoid of colonial or industrial vestiges. ...

English - 3 pages
Netsanet Belay and I represented CIVICUS at the last OECD High Level Forum 4 on aid effectiveness in Busan, South Korea. We spent actually 10 days in this surprising and impressive country (the poorest Asian country 50 years ago and the 10th largest economy of the world today). We participated to the Busan Civil Society Forum (26-28 November), together with 500 civil society representatives and to the official event (29 November – 1 December), where 300 of us were accredited.

The Civil Society Forum, jointly organised by Better Aid, the Open Forum and our host Kofid, helped to prepare for the OECD event. Plenaries and workshops were used to finalise engagement strategies. A diverse crowd was there from 100 countries, representing the whole spectrum of civil society: trade unions, peasant and farmer organisations, women’s organisation, youth, indigenous people, large NGOs, transnational social movements and others. The OECD event was much bigger, with 3000 participants. We were there: in the plenaries, in the thematic events, in the workshops and more importantly in the negotiating room!

We will need some time to assess collectively our success in Busan. And we actually are in this awkward position: we are eager to criticize a text (the Busan Partnership for Effective Development Cooperation), that we contributed to author. We are as much in the tent as we are out.

host countries establish shared priorities for reducing fragility, with fragile states themselves taking the lead. Despite critics ’ concerns, a preliminary analysis finds no negative effect on anti-corruption programming. However, the policy’s potential for improving control of corruption remains largely unfulfilled. The main challenge is to go beyond technical responses to politically smart engagement. The New Deal provides more space for political dialogue than the Paris Declaration, but aid agencies need operational guidelines on how to develop programming and link technical and diplomatic responses to corruption concerns in fragile states.