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Screenquota on korean film market
1. The Impact of Screen
Quota on Korean Film
Market
200900079 황선우
201000038 공진원
201200053 백하현
201200085 최은혜
2. Contents
1. What is Screen Quota?
2. What is the Impact of Screen Quota?
3. 1960-1970 Korean Film Market
4. After FTA (2001-2011)
5. Other factors
6. Conclusion
7. Index: Foreign Example
4. What is Screen Quota?
• A minimum number of screening days
• To protect domestic market.
• The Cinematograph Films Act 1927 (U.K.)
• France, S.Korea, etc...
5. Screen Quota in Korea
• In 1966
– Established to "filter out Western
influences.”
– At least 146 days each year.
• FTA(2006)
– Reduced by half: 73 days.
11. History of Screen Quota
Film law
was
enacted
Enforced
Screen quota in
Korea
U.S.
requested to
abolish the
screen quota
Reduced
screen quotas
from 146 days
to 73 days
14. Korea vs World :
The Number of Audience in 60s
-
2,000,000
4,000,000
6,000,000
8,000,000
10,000,000
12,000,000
1965 1967 1968 1969
Korean films
Foreign films
**Based on Seoul theater
15. Korea vs World
: Market Share
45.5% 41.3% 48.6% 48.9%
54.5% 58.70% 51.40% 51.10%
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
1965 1967 1968 1969
Foreign films
Korean films
21. 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011
Korean Films 2271 4481 5082 6391 8019 8544 9791 7929 6354 7641 6940 8287
Foreign Films 4191 4455 5431 5556 5498 6008 5549 7938 8729 8055 7978 7686
Total 6462 8936 10513 11947 13517 14552 15340 15867 15083 15696 14918 15973
0
2000
4000
6000
8000
10000
12000
14000
16000
18000
Korean Films Foreign Films Total
The Number of Viewers each year
22. Box office indicator each year
year
Korean Film Foreign Film
Total
viewers
(10000)
total#m
ovies
per
person
viewers
(10000)
Market
share
(%)
#movie
s per
person
viewers
(10000)
Market
share
(%)
#movie
s per
person
2000 2,271 35.1 0.41 4191 64.9 0.89 6462 1.3
2001 4,481 50.1 0.96 4455 49.9 0.94 8936 1.9
2002 5,082 48.3 1.07 5431 51.7 1.13 10513 2.2
2003 6,391 53.49 1.32 5556 46.51 1.15 11947 2.47
2004 8,019 59.33 1.65 5498 40.67 1.13 13517 2.78
2005 8,544 58.71 1.75 6008 41.29 1.23 14552 2.98
2006 9,791 63.8 2 5549 36.2 1.13 15340 3.13
2007 7,939 50 1.61 7938 50 1.61 15867 3.22
2008 6,354 42.13 1.28 8729 57.87 1.76 15083 3.04
2009 7,641 48.68 1.54 8055 51.32 1.62 15696 3.16
2010 6,940 46.52 1.37 7978 53.48 1.58 14918 2.95
2011 8,287 51.86 1.63 7686 48.14 1.52 15973 3.15
23. 80 82 87
110
124
113
138
152
216
65
74
83
108 112 108
118
140
150
0
50
100
150
200
250
03' 04' 05' 06' 07' 08' 09' 10' 11'
The number of production and
released;
Korean Film
production released
25. Export of Korean Films per each year
Export amount of Korean Films were increased every year
However, export price per one movie decreased
133 164 194 202 208 321 361 251 276 366
0
10,000,000
20,000,000
30,000,000
40,000,000
50,000,000
60,000,000
70,000,000
80,000,000
0
50
100
150
200
250
300
350
400
02' 03' 04' 05' 06' 07' 08' 09' 10' 11'
export total export(1,000USD)
26. Rank Movie Distributor Sales Viewers
1 웰컴 투 동막골 쇼박스 40,328,508,500 6,436,508
2 가문의 위기(가문의 영광2) NEW 28,622,355,500 4,529,876
3 말아톤 쇼박스 26,284,943,000 4,196,840
4 해리포터와 불의 잔 W.B. 20,628,374,500 3,301,353
5 아일랜드 - 20,363,994,500 3,218,811
6 공공의 적 2 - 20,091,127,000 3,134,421
7 친절한 금자씨 - 20,483,051,393 3,119,682
8 태풍 - 19,372,557,600 3,035,086
9 미스터 & 미세스 스미스 - 18,900,071,500 2,963,193
10 너는 내 운명 - 17,653,752,500 2,701,230
27. Rank Movie Distributor Sales Viewers
1 괴물 쇼박스 66,715,713,300 10,917,153
2 왕의 남자 시네마서비스 61,605,851,900 9,793,917
3 타짜 롯데엔터테인먼트 36,180,800,700 5,685,441
4 미션 임파서블 3 Paramount 32,154,883,400 5,127,003
5 투사부일체 - 31,959,686,000 5,074,314
6 캐리비안의 해적 : 망자의 함 - 23,832,939,000 3,911,617
7 한반도 - 20,597,497,600 3,331,593
8 미녀는 괴로워 - 18,919,439,500 3,224,865
9 다빈치 코드 - 18,873,057,800 3,022,936
10 가문의 부활 - 가문의 영광3 - 15,996,330,400 2,598,859
28. Rank Movie Distributor Sales Viewers
1 디워 쇼박스 49,339,934,700 7,855,441
2 트랜스포머 Paramount 47,619,379,338 7,389,696
3 화려한 휴가 CJ 엔터테인먼트 44,098,449,600 6,855,300
4 스파이더맨 3 한국소니픽쳐스 29,511,658,000 4,592,309
5
캐리비안의 해적: 세상의 끝에
서
-- 29,133,447,500 4,571,229
6 해리 포터와 불사조 기사단 -- 22,899,775,300 3,691,060
7 다이 하드 4 : 죽어도 산다 - 20,622,308,900 3,176,937
8 그놈 목소리 -- 17,598,617,600 2,972,299
9 식객 -- 18,972,140,500 2,963,196
10 300 -- 18,683,698,500 2,929,561
29. Rank Movie Distributor Sales Viewers
1 좋은 놈, 나쁜 놈, 이상한 놈 쇼박스 43,747,552,000 6,684,933
2 추격자 쇼박스 33,986,959,000 5,046,096
3 쿵푸 팬더 Paramount 29,996,476,000 4,653,929
4 맘마미아! Universal Studio 29,571,255,750 4,552,475
5 과속스캔들 -- 28,506,879,500 4,361,509
6 강철중: 공공의 적 1-1 -- 28,638,460,100 4,313,101
7 아이언맨 -- 27,798,047,000 4,290,816
8
인디아나 존스 4 : 크리스탈 해
골의 왕국
-- 26,689,440,000 4,111,753
9 미이라 3:황제의 무덤 -- 26,217,311,000 4,090,885
10 다크 나이트 -- 26,878,184,500 4,060,490
42. Conclusion
Screen Quota can be helpful in movie industry.
It ‘s not an only factor.
There are some other factors.
So we should consider it more synthetically.
44. Japan
Adopted Screen quota at Showa age
Abolished in 1945 → Didn’t last for a long time
Golden Age in 1950’s
Not only Screen quota but also other various
factors have affected to the movie industries.
47. References
• Korean Film Commission (2002). The market share of Korean films.
Retrieved November 11, 2002,from
http://www.kofic.or.kr/movie/boxoffice.asp
• Kim, S. (2002, January 25). Ministries divided over screen quota. The Korea
Times. Retrieved November 11, 2002
• 영화진흥위원회 정책연구부, 2014년 한국영화산업 결산
• 한국영화연감
• http://www.koreascience.or.kr/search/articlepdf_ocean.jsp?url=http://ocean.
kisti.re.kr/downfile/volume/kocon/CCTHCV/2011/v11n2/CCTHCV_2011_v11
n2_238.pdf
a legislated policy that enforces a minimum number of screening days of domestic films in the theater each year to protect the nation’s films. The screen quota system is enforced to prevent foreign markets from making inroads into the domestic film market. The screen quota system was started in the United Kingdomin 1927 through the Cinematograph Films Act 1927. Other countries enforcing screen quotas include France, South Korea, Brazil, Pakistan and Italy.
a legislated policy that enforces a minimum number of screening days of domestic films in the theater each year to protect the nation’s films. The screen quota system is enforced to prevent foreign markets from making inroads into the domestic film market. The screen quota system was started in the United Kingdomin 1927 through the Cinematograph Films Act 1927. Other countries enforcing screen quotas include France, South Korea, Brazil, Pakistan and Italy.
The screen quota system has been enforced in South Korea since 1967.
The system is:
screening more than 6 Korean films each year and more than 90 screening days each year in1966)
screening more than 3 Korean films each year and more than 30 screening days each year in1970)
more than 1/3 of screening days each year in 1973)
more than 2/5 of screening days each year and reciprocal screening of Korean and foreign films in cities of more than 300,000 of population in 1985)
the screen quota has contributed to the rapid increase in the film market. Until the 1990s, the Korean film market had lacked the ability to raise capital funds for films. The quality of Korean films has increased dramatically, with an inflow of capital funds into South Korean film market since 2000. The government has decided to reduce its 40-year-old screen quotas from 146 days to 73 days in 2006. As a result of the free trade agreement between South Korea and the United States, which was agreed on April 2, 2007, the screen quotas in South Korea will not be subject to change from the current 73 days.
We can called 1960s as the regulatory period.
The 1960s was called golden age of Korea cinema because governmental policy like enacting film law and importing the concept of quota system protected Korean film market and it made rapid increase of audience.
Almost every movie stars and directors demonstrated for the screen quota
Because they thought cutting back of screen quota will destroy Korean film market