By Shim Jae-myung
In the late 1990s, Korea saw the "Renaissance" of its film industry, which was the combined result of the government's full attention and support under the slogan of "support without interference," the production of innovative and quality movies backed by big conglomerates' advancement in the industry, and the emergence of highly competent directors, producers and actors. Multiplex chains drove the expansion of the film market, and Korean movies' stature was boosted at home and abroad following numerous awards won overseas.
About two decades later in 2019, the industry saw more than 200 million moviegoers a year, the largest annual number ever, and five movies attracted more than 10 million viewers, each ― making Korea the world's fifth-largest film market and a film powerhouse where one member of the public watches 4.37 movies a year on average, the highest number in the world. "Parasite" winning the Palme d'Or at the Cannes Film Festival and the four wins at the Academy Awards marked the climax of Korea's film industry.
However, for the last two years since the pandemic erupted, the film industry has been seeing an extreme stagnation, with the industry's earnings plummeting to 30 percent of the level seen in 2019.
The pandemic situation has exposed the movie industry's problems. While the rapid growth during the last 20 years has intensified the monopoly of a handful of multiplex chains, the pandemic has shaken the foundation of the film industry that used to depend on profits from cinema operations, resulting in the collapse of small-sized production and distribution companies and theaters. The production, distribution and screenings of art films, which were seriously undersized compared to the volume of the nation's entire film industry, have been hit especially hard.
Now the Korean film industry is encountering a "time of confusion" in the ambivalent situation between the great global attention and opportunity created by "Parasite" and "Squid Game" and the potential collapse of the industry. People in the industry are also confused, stuck between the hope of returning to the pre-pandemic era and efforts to adapt to the pandemic-driven changes. At this turning point, the new government's role will be more crucial than ever.
What is required first is a change of perception, a new awareness of film: Film is not a driving force to expand the economy globally but nourishment for the spirit of each individual. I believe "Parasite" and "Squid Game" started from the desire to seek nourishment for the spirit.
For this, the government, the Korean Film Council and the film industry need to change their perceptions and have a strong determination to change policies. Laws that regulate the film industry require revisions for a new policy on cultural diversity. A fundamental and long-term policy is needed for small-scale art films. The system enabling the polarization and monopoly of big production or distribution companies should be scrapped for a fair market environment. Active support for an environment to produce creative content is needed more than ever.
A fundamental change of perception, a new policy meeting the change, and active support will help produce globally competitive contents and lead to the further development of Korea's film industry.
Shim Jae-myung is the CEO of Myung Films, one of Korea's most renowned film production houses. Since its establishment in 1995, the company has produced more than 40 films. Shim's past projects include DMZ-themed drama film "Joint Security Area" (2000), sports drama "Forever the Moment" (2008) and romance film "Architecture 101" (2012). Most recently, Myung Films' "Chun Tae-il: A Flame That Lives On" (2020) was invited to the Annecy International Animated Film Festival.
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| Shim Jae-myung, CEO of Myung Films / Korea Times file |
About two decades later in 2019, the industry saw more than 200 million moviegoers a year, the largest annual number ever, and five movies attracted more than 10 million viewers, each ― making Korea the world's fifth-largest film market and a film powerhouse where one member of the public watches 4.37 movies a year on average, the highest number in the world. "Parasite" winning the Palme d'Or at the Cannes Film Festival and the four wins at the Academy Awards marked the climax of Korea's film industry.
However, for the last two years since the pandemic erupted, the film industry has been seeing an extreme stagnation, with the industry's earnings plummeting to 30 percent of the level seen in 2019.
The pandemic situation has exposed the movie industry's problems. While the rapid growth during the last 20 years has intensified the monopoly of a handful of multiplex chains, the pandemic has shaken the foundation of the film industry that used to depend on profits from cinema operations, resulting in the collapse of small-sized production and distribution companies and theaters. The production, distribution and screenings of art films, which were seriously undersized compared to the volume of the nation's entire film industry, have been hit especially hard.
Now the Korean film industry is encountering a "time of confusion" in the ambivalent situation between the great global attention and opportunity created by "Parasite" and "Squid Game" and the potential collapse of the industry. People in the industry are also confused, stuck between the hope of returning to the pre-pandemic era and efforts to adapt to the pandemic-driven changes. At this turning point, the new government's role will be more crucial than ever.
What is required first is a change of perception, a new awareness of film: Film is not a driving force to expand the economy globally but nourishment for the spirit of each individual. I believe "Parasite" and "Squid Game" started from the desire to seek nourishment for the spirit.
For this, the government, the Korean Film Council and the film industry need to change their perceptions and have a strong determination to change policies. Laws that regulate the film industry require revisions for a new policy on cultural diversity. A fundamental and long-term policy is needed for small-scale art films. The system enabling the polarization and monopoly of big production or distribution companies should be scrapped for a fair market environment. Active support for an environment to produce creative content is needed more than ever.
A fundamental change of perception, a new policy meeting the change, and active support will help produce globally competitive contents and lead to the further development of Korea's film industry.
Shim Jae-myung is the CEO of Myung Films, one of Korea's most renowned film production houses. Since its establishment in 1995, the company has produced more than 40 films. Shim's past projects include DMZ-themed drama film "Joint Security Area" (2000), sports drama "Forever the Moment" (2008) and romance film "Architecture 101" (2012). Most recently, Myung Films' "Chun Tae-il: A Flame That Lives On" (2020) was invited to the Annecy International Animated Film Festival.
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