Description
Please write a 2800-3000-word Essay based on the research topic you have chosen.
You are expected to come up with a Research Topic for your 3,000-word Essay, which you will submit as the major requirement for successfully completing this module. There is no need to do any personal interviews, questionnaire survey, and/ or focus groups for your research for the assignment of this module
Topics ALLOWED
Any topics on the concepts, film policy models, international/ national/ regional governmental interventions in any film industries in the world at any given point in time, etc. that are relevant to what you have learnt from this module
Topics NOT ALLOWED
Any topics on textual analysis ONLY of any given film/ film industries/ filmmaking
Any topics WITHOUT a FILM element e. g. museum exhibition and/ or theatre studies are not allowed
Any topics NOT RELATED to governmental or film industry policy e. g. an internal/ corporate policy of BBC in its handling of its film business is not allowed
Any topics that you will not be able to find any academic reading material, newspaper clippings, archival material etc, as supporting evidence of your research
Any topics that require you to carry out in-depth personal interviews/ focus groups/ questionnaire survey/ studies involving living human participants

Explanation & Answer

Attached.
The Evolution and Impact of Korea's Screen Quota System (1993–2006) Outline
Thesis statement: The South Korean context provides a rich and instructive example of how
state action and cultural policy intersect with global economic forces. Focusing on the screen
quota system in Korea from 1993 to 2006, this research looks into how the state-led cultural,
social, and economic policies contribute to the growth of a vigorous Korean film industry. Screen
quota became a central part of cultural policy.
1. INTRODUCTION
A. Overview of the screen quota system in South Korea.
B. Intersection of cultural policy and globalization.
C. Research objectives: analyzing state-led interventions in the Korean film industry.
2. HISTORICAL CONTEXT
A. Formation of the Screen Quota System
i. Endogenous pressures: revival of the domestic film industry.
ii. Exogenous pressures: globalization and international trade challenges.
iii. Impact of Hollywood's dominance on the Korean film market.
B. Nationalism and Cultural Space
i. Role of the screen quota in resisting cultural imperialism.
ii. Contribution to the global export of Korean content.
3. KOREAN FILM POLICY FRAMEWORK (1993–1996)
A. Kim Young-Sam's globalization policy ("Segyehwa").
B. Reforms to The Motion Picture Law: liberalization and protectionism.
C. Establishment of Korean Film Council (KOFIC).
D. Challenges: dependency on imports, lack of technical know-how, and funding issues.
4. POLICY INTERVENTION AND INDUSTRY STRUCTURE (1996–1999)
A. Strengthened role of KOFIC: funding, production, and distribution.
B. Development of multiplex theaters and low-interest funds.
C. Outcomes: improved infrastructure, but concerns over bureaucracy and quality.
D. Synergy of screen quotas with KOFIC’s initiatives.
5. CULTURAL POLICY AND NATIONAL CINEMA (1999–2003)
A. Cinema as part of national culture and soft power.
B. Coalescing of screen quotas with broader cultural strategies.
C. Examples of successful films during this period (e.g., Shiri).
6. ANALYSIS OF SCREEN QUOTA EFFECTIVENESS
A. Positive outcomes: protected domestic cinema, nurtured new talent, and created a market.
B. Criticisms: quality concerns, over-reliance on quotas, and structural issues.
C. Role of complementary policies in mitigating shortcomings.
7. CONCLUSION
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The Evolution and Impact of Korea's Screen Quota System: A Study of State Intervention
in the Film Industry (1993-2006)
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The Evolution and Impact of Korea's Screen Quota System: A Study of State Intervention
in the Film Industry (1993-2006)
The South Korean context provides a rich and instructive example of how state action
and cultural policy intersect with global economic forces. Focusing on the screen quota system in
Korea from 1993 to 2006, this research looks into how the state-led cultural, social, and
economic policies contribute to the growth of a vigorous Korean film industry. Screen quota
became a central part of cultural policy. In essence, this policy required theaters to screen a
specific number of domestic pictures per year (Parc & Messerlin, 2023). It not only preserved
both the production and consumption of National Cinema but also provoked and developed
cultural debates about nationhood, culture, globalization, and cultural imperialism (Chung,
2023).
As for the historical perspectives of the formation of the screen quota system, it could be
said that it was due to both endogenous and exogenous pressures. Globally, the Korean
government aimed to revive its movie market threatened by Hollywood's invasion domestically
(Hong, 2023). On the external side, the policy has to meet the challenges of globalization and
international trade. This included the effects of the Chile-USA Free Trade Area negotiations in
the 1990s and two 2000s. The study examines how the screen quota system dovetailed into the
issue of nationalism and cultural space and contributed to the exportation of Korean content
around the world.
This study thus examines and documents the effects of the screen quota system on the
structure of the Korean film industry by placing the system in two discursive contexts state-led
cultural industry policies and global trade. The implications of the analysis are the key
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significance of cultural policy to encourage national cinema, resist cultural imperialism, and
support cultural diversity with the background of growing globalization.
Korean Film Policy Framework (1993-1996)
From 1993 to 1996, the Korean film industry moved into a critical period as the state
started reconstructing its position in the cultural business in the era of Kim Young-Sam’s
globalization policy (Ryoo, 2020). His administration diverged from the typical structuralist
emphasis on economic concerns by arguing that the cultural industry constitutes a strategic
terrain for development. Popularly known as segyehwa or globalization, this policy was intended
to update Korea’s economy and make it more competitive in the sphere of the global economy
and at the same time strengthen and develop a Korean identity (Medina, 2022). The government
understood that cultural products, especially cinematography, could act as commercial goods and
tools of soft power, providing international awareness about the culture of Korea and at the same
time – reinforcing the internal cultural identity.
Changes in the state’s approach were evidenced by reforms in The Motion Picture Law
during this period (Kong, 2024). These reforms aimed at nurturing a dwindling domestic film
industry through a dual pragmatic strategy: liberalization and protectionism. At the center of
these reforms was the screen quota system which referred to the sheer number of days that
required domestic films to be aired in theaters. And though it was in an economic vein, the
cultural consequences of the policy were immense. In excluding the American big-budget
productions and getting rid of influences that dictated Hollywood films' basics, the state carved
out an environment in which Korean directors could grow and viewers could immerse in locally
produced films (Yoon, 2023).
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This policy was made to enforce and supplement other cultural industry policies that
sought to foster the creation of institutions like the Korean Film Council (KOFIC) to disburse
funds, and support and steer the cultural industry (Lee, 2022). Actively state interference
illustrated the non-economic nature of globalization as a cultural liberty sign instead of simply
being an economic means. Incorporating cultural sustainability into the process of globalization,
Korea explained how the policies of the state could simultaneously address the dual threats of
homogenization of the globalized cultural space and the pressure of the free economy market.
The changes in the Motion Picture Law and the screen quota system during the early
1990s were the key initiatives for reforming the Korean cultural policy to safeguard the domestic
movie industry against globalization. The base for these reforms aimed at changing structural
problems of the Korean film industry such as the lack of financial leverage and its dependency
on imports especially American films (Parc et al., 2021). At the center of those reforms was the
screen quota system that put a condition for theatres to spend a certain number of days showing
Korean films in a year. This policy was very effective in protecting cultural territory in Korea
and resisting cementation resulting from pressure from the foreign media.
However, Lee et al. (2022) has pointed out that, although the screen quota system gave a
protective shield to the industry it failed to tackle many of the real issues like the scarcity of
technical know-how and fluctuating funds. For instance, while using the quota many domestic
films produced during this period could be categorically termed as cheap production substandard
stories and quality. While the state’s protectionist policy through setting quotas initially had the
desired effect of growing the number of ethnic minorities employed, the lack of investment in
training and supporting employment infrastructure beyond quotas meant that the policy did not
have a wider impact beyond the initial goals.
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However, the reforms were in tune with wide cultural policy objectives aimed at placing
the arts and culture as important segments of national development. Thus, the sub-goals that
relate to the organization and long-term support of the film industry are provided by the longterm fund instruments through the establishment of the Korean Film Council (KOFIC). This is
perhaps because some of the finest examples of new Korean cinema, such as Kim Ki-duk’s
Sopyonje (1993), have been recognized both locally and internationally, as well as attaining
healthy box-office returns when targeted in line with such reforms. Therefore, the adaptation of
the Motion Picture Law reforms and screen quota system laid down the foundation but this was
pushed further only when combined with structural investment and developing future cultural
approaches.
Policy Intervention and Industry Structure (1996-1999)
From 1996 to 1999, cultural policy in South Korea strengthened its system-based support
for film industries where KOFIC was most involved. Officially set up as a quasi-governmental
entity, KOFIC emerged as the chief means of intervention by turning into a financial and
administrative through-put mechanism for the provision of funds and support in an attempt at
creating a market-driven and sustainable film industry (Jackson, 2022). Therefore, knowing that
the screen quota system by itself would not be enough to help Korean cinema qualitatively or
financially advance, the government, through KOFIC, focused on its investments in production,
distribution, and training.
To fill the identified gaps, KOFIC implemented funding structures with the purpose of
certain industry necessities. For instance, it gave production incentives to foster independent
movie makers to make the kind of movies ...
