SOUTH KOREA (Pop: 51.2 Million)

Total Page:16

File Type:pdf, Size:1020Kb

SOUTH KOREA (Pop: 51.2 Million) SOUTH KOREA (Pop: 51.2 million) (1) SOUTH KOREA: THEATRICAL MARKET OVERVIEW, 2010-2016 2010 2011 2012 2013 2014 2015 2016 Screens 2,003 1,974 2,081 2,184 2,281 2,492 2,492 Theatrical admissions (millions) 149.2 159.0 194.8 213.3 215.1 217.3 217.0 Per capita attendance 3.0 3.2 3.8 4.2 4.3 4.3 4.3 Average ticket price (EUR*) 5.67 5.79 5.88 5.92 5.70 5.80 6.38 Box office (EUR millions*) 8,691 823.6 1,035.9 1,023.7 1,103.6 1,260.4 1,381.0 Releases 388 297 426 905 1,117 1,276 1,564 Domestic releases 128 93 140 183 232 286 388 US releases 123 117 117 265 258 309 343 European releases** 44 49 91 294 221 362 369 German releases 7 7 7 6 14 10 4 Domestic market share 46.2% 51.9% 58.8% 58.7% 50.1% 52.2% 53.7% German market share 1.56% 0.51% 0.08% 0.29% 0.74% 0.14% 0.02% *EUR equivalents are calculated throughout at the exchange rate for December 31 of the year in question. **Excluding German majority films Market Study South Korea 2010-2016, published Oct 2017, by Split Screen for German Films 1 South Korea: Theatrical Market Shares 2010-2016 70 60 50 40 Domestic 30 German 20 10 Percentage Percentage of office box annual 0 2010 2011 2012 2013 2014 2015 2016 Korea: Theatrical Releases 2010-2016 2000 1500 Total Domestic 1000 US 500 European German 0 2010 2011 2012 2013 2014 2015 2016 Market Study South Korea 2010-2016, published Oct 2017, by Split Screen for German Films 2 (2) SOUTH KOREA: THEATRICAL RELEASES OF GERMAN FILMS, 2010-2016 TITLE DISTRIBUTOR RELEASE DATE BOX OFFICE US$ 2010 German films (100% or majority co-productions) THE LAST STATION (Ger/Rus/UK) Mediasoft Films 16.12.10 329,127 DIE TÜR (Ger) Company L 02.09.10 77,094 DAS WEISSE BAND (Ger/Aut/It/Sp) Peterpan Pictures 01.07.10 69,743 WÜSTENBLUME (Ger/Aut) Old Face 22.04.10 60,902 NORDWAND (Ger/Aut/Swz) JMD Entertainment 03.06.10 51,806 GELIEBTE CLARA (Ger/Fr/Hun) AUD 16.12.10 36,176 PALERMO SHOOTING (Ger/Fr/it) n/a 22.04.10 1,221 2010 German minority co-productions RESIDENT EVIL: AFTERLIFE (UK/Ger/US) Sony Pictures (South Korea)/Buena Vista Korea 15.09.10 11,772,954 THE GHOST (Fr/Ger/UK) Sidus FNK 02.06.10 1,069,606 HAPPILY N'EVER AFTER 2 (US/Ger) n/a 25.02.10 378,434 DISCO ORMENE (Den/Ger) AE Entertainment 04.02.10 54,134 UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (Thai/Ger/Fr/Sp/UK)BaekDu-DaeGan Films Co Ltd 16.09.10 36,794 A MATTER OF SIZE (Isr/Ger/Fr) n/a 15.04.10 14,362 IL Y A LONGTEMPS QUE JE T'AIME (Fr/Ger) n/a 07.01.10 11,908 EL SISTEMA (Ven/Ger/Fr/Est/Pol/Swe) n/a 12.08.10 206 2011 German films (100% or majority co-productions) THE THREE MUSKETEERS (Ger/Fr/UK/US) Lotte Entertainment 12.10.11 5,170,426 DIE FRISEUSE (Ger) Jinjin Pictures 30.06.11 95,215 Market Study South Korea 2010-2016, published Oct 2017, by Split Screen for German Films 3 JASPER UND DAS LIMONADENKOMPLOTT (Ger/Fr) Lotte Entertainment 18.08.11 57,264 SOUL KITCHEN (Ger/Fr/It) Sponge Entertainment 17.02.11 42,863 TANZTRÄUME (Ger) Jinjin Pictures 20.01.11 35,450 DREI (Ger) TCast 29.09.11 34,223 VISION - AUS DEM LEBEN DER HILDEGARD VON BINGEN (Ger) PoongKyung SoRi 24.11.11 34,182 2011 German minority co-productions UNKNOWN (US/Ger/UK/Fr) Warner Bros. Korea 17.02.11 3,503,340 HANNA (US/UK/Ger) Sony Pictures Releasing Buena Vista Korea 14.04.11 1,464,299 LOURDES (Aut/Ger/Fr) AUD 17.02.11 55,687 LE HAVRE (Fin/Fr/Ger) Challan 08.12.11 34,791 ANTICHRIST (Den/Ger) Mars Entertainment 14.04.11 22,781 FAUBOURG ‘36 (Fr/Ger/Cz) Jinjin Pictures 17.02.11 5,834 2012 German films (100% or majority co-productions) RESIDENT EVIL: RETRIBUTION (Ger/Can) Sony Pictures (South Korea) 13.09.12 4,234,025 KONFERENZ DER TIERE (Ger) SBS 08.08.12 1,745,965 PINA (Ger/Fr/UK) BaekDu-Dae Gan Films 2012 349,986 A DANGEROUS METHOD (Ger/Can/UK/Swz) KT&G Sansangmadang 10.05.12 182,772 THE FUTURE (Ger/US/Fr) TCast 2012 71,537 DIE FREMDE (Ger) n/a 29.03.12 43,669 EL BULLI: COOKING IN PROGRESS (Ger) n/a 2012 12,507 2012 German minority co-productions HETJUR VALHALLA – THOR (Ice/Ger/UK) Lotte Entertainment 09.02.12 4,866,862 THE VOW (US/Brz/Fr/Aus/UK/Ger) Sony Pictures (South Korea) 14.03.12 1,625,045 Market Study South Korea 2010-2016, published Oct 2017, by Split Screen for German Films 4 NIKO 2 – LENTÄJÄVELJEKSET (Fin/Den/Ire/Ger) n/a 25.12.12 717,895 TINKER TAILOR SOLDIER SPY (UK/Fr/Ger) Fine Pictures Co 09.02.12 373,288 STREETDANCE 2 (UK/Ger/It) Pancinema 12.07.12 243,156 CARNAGE (Fr/Ger/Pol/Sp) Pancinema 16.08.12 128,692 AMOUR (Fr/Aut/Ger) T Cast 19.12.12 120,568 MELANCHOLIA (Den/Swe/Fr/Ger) n/a 17.05.12 106,407 VOUS N’AVEZ ENCORE RIEN VU (Fr/Ger) Sponge Entertainment 22.11.12 19,546 LUFTSLOTTET SOM SPRÄNGDES (Swe/Den/Ger) Pop Entertainment 05.04.12 6,229 2013 German films (100% or majority co-productions) CLOUD ATLAS (Ger/US) Next Entertainment World 10.01.13 3,179,605 RITTER ROST - EISENHART & VOLL VERBEULT (Ger) Apex Entertainment Co 18.07.13 375,665 VINCENT WILL MEER (Ger) Sejong Communications 27.06.13 27,613 DU HAST ES VERSPROCHEN (Ger) BaekDu-Dae Gan Films 05.09.13 10,218 BARBARA (Ger) Sponge Entertainment 21.03.13 6,904 NANGA PARBAT (Ger) Mountain Pictures 12.12.13 3,712 2013 German minority co-productions THE MORTAL INSTRUMENTS: CITY OF BONES (US/Ger/Can) Lotte Entertainment 12.09.13 3,676,161 HANSEL & GRETEL: WITCH HUNTERS (US/Ger) CJ Entertainment 14.02.13 1,952,492 SONG FOR MARION (UK/Ger) n/a 18.04.13 1,256,999 RUSH (US/UK/Ger) Lotte Entertainment 09.10.13 656,425 MEDIANERAS (Arg/Ger/Sp) Jinjin Pictures 12.09.13 154,013 MR. NOBODY (Bel/Ger/Can/Fr) Bubble & Joy Pictures 24.10.13 134,918 HOLY MOTORS (Fr/Ger) AUD 04.04.13 117,853 POULET AUX PRUNES (Fr/Ger/Bel) TimeStory 20.06.13 76,478 PASSION (Fr/Ger) Pancinema 14.08.13 52,032 Market Study South Korea 2010-2016, published Oct 2017, by Split Screen for German Films 5 2 DAYS IN NEW YORK (Fr/Ger/Bel) AUD 29.08.13 51,413 PARADIES: LIEBE (Aut/Ger/Fr) World Cinema Group 17.10.13 2,430 BAL (Tur/Ger) BaekDu-Dae Gan Films 26.09.13 1,269 IGOR & THE CRANES’ JOURNEY (Isr/Ger/Pol) BaekDu-Dae Gan Films 01.08.13 916 LA RAFLE (Fr/Ger/Hun) Dreamwest Pictures 16.05.13 800 2014 German films (100% or majority co-productions) TARZAN 3D (Ger) Sidus Pictures 09.01.14 4,181,321 LOVE, ROSIE (Ger/UK) Next Entertainment World 11.12.14 1,885,103 DIE BIENE MAJA – DER KINOFILM (Ger/Aus) Sejong Communications 03.08.14 1,707,703 HECTOR AND THE SEARCH FOR HAPPINESS (Ger/Can) ThanksCo Company 27.11.14 806,953 NIGHT TRAIN TO LISBON (Ger/Swz/Por) Musee Entertainment 05.06.14 548,816 DER 7BTE ZWERG (Ger) Sane Company 24.12.14 436,395 DER TEUFELSGEIGER (Ger/Aut) Focus & Company 24.04.14 258,417 CLOUDS OF SILS MARIA (Ger/Fr/Swz) TCast 18.12.14 91,754 FÜNF FREUNDE 3 (Ger) Company L 27.11.14 27,113 BELA KISS: PROLOGUE (Ger) n/a 30.07.14 11,050 DER MONDMANN (Ger/Fr/Ire) Mountain Pictures 13.11.14 6,758 FACK JU GÖHTE (Ger) Sejong Communications 20.11.14 2,945 DIE FRAU HINTER DER WAND (Ger) Company L 18.12.14 63 KREUZWEG (Ger) Company L 09.10.14 n/a 2014 German minority co-productions POMPEII (Can/Ger) Daisy & Cinergy 20.02.14 9,579,271 ANONYMOUS (UK/Ger) n/a 20.02.14 8,252,627 THE GRAND BUDAPEST HOTEL (US/Ger) Twentieth Century Fox (South Korea) 20.03.14 5,596,261 LA BELLE ET LA BÊTE (Fr/Ger) UniKorea Culture 19.06.14 2,335,249 Market Study South Korea 2010-2016, published Oct 2017, by Split Screen for German Films 6 THE MONUMENTS MEN (US/Ger) Twentieth Century Fox (South Korea) 27.02.14 390,527 NYMPHOMANIAC: VOLUME 1 (Den/Ger/Fr/Swe/Bel) AtnineFilm 19.06.14 336,190 ONLY LOVERS LEFT ALIVE (UK/Ger/Fr/Cyp) Challan 09.01.14 231,873 A MOST WANTED MAN (UK/US/Ger) Dreamwest Pictures 07.08.14 113,218 WADJDA (Saudi/Ger) Chris Lee Pictures 19.06.14 72,986 LA RELIGIEUSE (Fr/Ger/Bel) Green Narae Media 23.01.14 29,827 MAPS TO THE STARS (Can/US/Fr/Ger) Doki Entertainment 25.12.14 13,113 NYMPHOMANIAC: VOLUME 2 (Den/Ger/Fr/Swe/Bel) AtnineFilm 03.07.14 5,233 THE CONGRESS (Isr/Ger/Pol/Fr/Bel) Cinema De Manon 05.06.14 4,979 WAKOLDA (Arg/Sp/Ger/Fr) Company L 29.04.14 515 THE LUNCHBOX (Ind/Fr/Ger) PeterPan Pictures 10.04.14 355 LES SALAUDS (Fr/Ger) Challan 02.10.14 n/a 2015 German films (100% or majority productions) OOOPS! DIE ARCHE IST WEG (Ger/Ire/Bel/Lux) Smile Ent.
Recommended publications
  • Film/Broadcast Content the Increasing Role of “Tentpoles” in the Content Industry
    Film/Broadcast Content The increasing role of “tentpoles” in the content industry The need for tentpoles in the content industry Overweight (Maintain) The content industry and a tent have one thing in common: both need a tentpole to support the entire structure. In the content industry, tentpoles are defined as hit titles Industry Report that provide a source of steady cash flow, such as the blockbuster films of movie studios July 27, 2015 and the top-rated programs of TV networks. The content industry is vulnerable to the success or failure of a title as well as changes in seasonality. Establishing a tentpole by investing around 70% of the annual budget on Daewoo Securities Co., Ltd. just one or two projects could prove an effective strategy against such risks. If tentpole [Telecom Service / Media] films or shows become a hit, they can compensate for losses made elsewhere. Creating a long-term tentpole lineup, increasing the number of tentpoles, and being able to predict Jee-hyun Moon future revenue can lead to a structural improvement in the business. In other words, +822-768-3615 tentpoles can make the content industry more predictable. [email protected] Tentpole strategies used in the film distribution and broadcasting industries The tentpole strategy is primarily used in the film distribution and broadcasting industries. A major proponent of the strategy is Walt Disney, which plans its five-year release lineup based on its Disney and Marble Comics franchises. The media giant has recently seen its film profits steadily grow after releasing a string of successful tentpole movies every quarter.
    [Show full text]
  • Power of the Korean Film Producer: Park Chung Hee’S Forgotten Film Cartel of the 1960S Golden Decade and Its Legacy
    Volume 10 | Issue 52 | Number 3 | Article ID 3875 | Dec 24, 2012 The Asia-Pacific Journal | Japan Focus Power of the Korean Film Producer: Park Chung Hee’s Forgotten Film Cartel of the 1960s Golden Decade and its Legacy Brian Yecies, Ae-Gyung Shim An analysis of the tactics adopted by the industry reveals the ways in which producers Key words: Korean cinema, filmnegotiated policy demands and contributed to production, film policy, Park Chung Hee, an industry “boom” – the likes of which were Shin Sang-ok not seen again until the late 1990s. After censorship was eliminated in 1996, a new Power of the Producer breed of writer-directors created a canon of internationally provocative and visuallySince the early 1990s, Korean film producers stunning genre-bending hit films, and new and have been shaping the local film industry in a established producers infused unprecedented variety of ways that diverge from those venture capital into the local industry. Today, a followed in the past. A slew of savvy producers bevy of key producers, including vertically and large production companies have aimed to integrated Korean conglomerates, maintain produce domestic hits as well as films for and dominance over the film industry whilewith Hollywood, China, and beyond, thus 2 engaging in a variety of relatively near-leading the industry to scale new heights. They transparent domestic and internationaldiffer markedly from those producers and companies that, throughout the 1970s and expansion strategies. Backing hits at home as 1980s, were primarily focused on profiting well as collaborating with filmmakers in China from the importation, distribution and and Hollywood have become priorities.
    [Show full text]
  • The Next Growth Strategy for Hallyu 79
    Lee & Kim / The Next Growth Strategy for Hallyu 79 THE NEXT GROWTH STRATEGY FOR HALLYU A Comparative Analysis of Global Entertainment Firms Yeon W. Lee Seoul School of Integrated Science and Technology [email protected] Kyuchan Kim Korea Culture and Tourism Institute [email protected] Abstract Previous policy approaches on Hallyu have been focused on the role of government engagement, particularly in fostering diversity and equal business opportunities for small-and-medium enterprises (SMEs). However, a more strategic approach to the cultural industries should be implemented by carefully examining the role of the private sector, particularly the role of large enterprises (LEs). his is important because LEs have an overarching and fundamentally diferentiated role in increasing the size of industry through their expansive value-creating activities and diversiied business areas. his study focuses on the complementary roles of SMEs and LEs in facilitating the growth of Hallyu by bringing in the perspective of value chain diversiication and the modiied value chain framework for the ilm industry. By conducting a comparative analysis of the global entertainment irms in the US, China, and Japan, this study reveals how LEs in the global market enter and explore new industries within culture and continue to enhance their competitiveness. By forming a business ecosystem through linking their value-creating activities as the platform of network, this study looks into the synergistic role among enterprises of diferent size and scale and suggests that Korea’s policy for Hallyu should reorient toward a new growth strategy that encourages the integrative network of irms where the value activities of LEs serve as the platform for convergence.
    [Show full text]
  • Cultural Production in Transnational Culture: an Analysis of Cultural Creators in the Korean Wave
    International Journal of Communication 15(2021), 1810–1835 1932–8036/20210005 Cultural Production in Transnational Culture: An Analysis of Cultural Creators in the Korean Wave DAL YONG JIN1 Simon Fraser University, Canada By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization. Keywords: cultural production, Hallyu, cultural creators, transnational culture Since the early 2010s, the Korean Wave (Hallyu in Korean) has become globally popular, and media scholars (Han, 2017; T. J. Yoon & Kang, 2017) have paid attention to the recent growth of Hallyu in many parts of the world. Although the influence of Western culture has continued in the Korean cultural market as well as elsewhere, local cultural industries have expanded the exportation of their popular culture to several regions in both the Global South and the Global North. Social media have especially played a major role in disseminating Korean culture (Huang, 2017; Jin & Yoon, 2016), and Korean popular culture is arguably reaching almost every corner of the world.
    [Show full text]
  • Open Pbaxter Thesis Final110308.Pdf
    The Pennsylvania State University The Graduate School College of Communications A COMPARATIVE STUDY OF THE U.S. AND KOREAN FILM INDUSTRIES: HISTORY, STRUCTURE, AND FINANCE A Thesis in Media Studies by Patrick D. Baxter © 2008 Patrick D. Baxter Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2008 This thesis of Patrick D. Baxter was reviewed and approved* by the following: Krishna Jayakar Associate Professor of the Department of Telecommunications Thesis Adviser Amit Schejter Assistant Professor of the Department of Telecommunications C. Michael Elavsky Assistant Professor of the Department of Film-Video and Media Studies John S. Nichols Professor of the Department of Film-Video and Media Studies Associate Dean for Graduate Studies and Research *Signatures are on file in the Graduate School iii ABSTRACT This project is a comparative case-study of the U.S. and Korean (South Korea) film industries along historical, structural, and financial dimensions. The genesis of this thesis came through an overall fascination with the film industry globally as nations compete and cooperate with each other, as well as contend with the dominance of the U.S. film industry. It uses the industrial organization model focusing primarily on "market structure." Further, it applies A.J. Scott’s bipartite (major, independent) and tripartite (major, subsidiary, independent) models of the U.S. film industry. The analysis is mainly descriptive being informed by historical development. To elaborate on market structure, samples of studio/mainstream and independent films were collected in both the U.S. and Korean film industries. The samples were analyzed along production company affiliation, distribution affiliation, sources of funding, and other elements.
    [Show full text]
  • South Korean Cinema and the Conditions of Capitalist Individuation
    The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation By Jisung Catherine Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kristen Whissel, Chair Professor Mark Sandberg Professor Elaine Kim Fall 2013 The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation © 2013 by Jisung Catherine Kim Abstract The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation by Jisung Catherine Kim Doctor of Philosophy in Film and Media University of California, Berkeley Professor Kristen Whissel, Chair In The Intimacy of Distance, I reconceive the historical experience of capitalism’s globalization through the vantage point of South Korean cinema. According to world leaders’ discursive construction of South Korea, South Korea is a site of “progress” that proves the superiority of the free market capitalist system for “developing” the so-called “Third World.” Challenging this contention, my dissertation demonstrates how recent South Korean cinema made between 1998 and the first decade of the twenty-first century rearticulates South Korea as a site of economic disaster, ongoing historical trauma and what I call impassible “transmodernity” (compulsory capitalist restructuring alongside, and in conflict with, deep-seated tradition). Made during the first years after the 1997 Asian Financial Crisis and the 2008 Global Financial Crisis, the films under consideration here visualize the various dystopian social and economic changes attendant upon epidemic capitalist restructuring: social alienation, familial fragmentation, and widening economic division.
    [Show full text]
  • Media Content the Next Players of China’S Growth
    Media Content The next players of China’s growth A look into the growth pattern of China’s culture industry Overweight (Maintain) China has become a central player in almost every industry across the world. The media content industry is no exception. In our recent overseas marketing trip, we met many Industry Report foreign investors asking about Korean content stocks, and were left with the impression March 23, 2016 that investors were looking for the next players to benefit from China’s growth. In 2015, the tertiary industry contributed to more than half of China’s GDP for the first Daewoo Securities CCCo.,Co., Ltd. time ever, signaling a change in global stock leadership. China’s box-office market has been growing at an astonishing rate, outpacing forecasters’ predictions. Historically, US [Telecom Service / Media] cultural spending increased significantly when the country’s GDP per capita rose from Jee-hyun Moon US$4,000 to US$20,000. At present, China’s GDP per capita is just US$8,000. +822-768-3615 Furthermore, the Chinese government has pledged to develop the culture industry into [email protected] one of the backbones of its economy. Nu-ri Ha With infrastructure nearly complete, next big investment will be in content +822-768-4130 [email protected] China’s culture industry now has most of the necessary infrastructure in place. The boom in multiplex theater co nstruction has led to a considerable rise in the number of Hong-mei Cui screens, and box-office revenue is surging in third- and fourth-tier cities.
    [Show full text]
  • Emerging Markets Small Cap Portfolio-Institutional Class As of July 31, 2021 (Updated Monthly) Source: State Street Holdings Are Subject to Change
    Emerging Markets Small Cap Portfolio-Institutional Class As of July 31, 2021 (Updated Monthly) Source: State Street Holdings are subject to change. The information below represents the portfolio's holdings (excluding cash and cash equivalents) as of the date indicated, and may not be representative of the current or future investments of the portfolio. The information below should not be relied upon by the reader as research or investment advice regarding any security. This listing of portfolio holdings is for informational purposes only and should not be deemed a recommendation to buy the securities. The holdings information below does not constitute an offer to sell or a solicitation of an offer to buy any security. The holdings information has not been audited. By viewing this listing of portfolio holdings, you are agreeing to not redistribute the information and to not misuse this information to the detriment of portfolio shareholders. Misuse of this information includes, but is not limited to, (i) purchasing or selling any securities listed in the portfolio holdings solely in reliance upon this information; (ii) trading against any of the portfolios or (iii) knowingly engaging in any trading practices that are damaging to Dimensional or one of the portfolios. Investors should consider the portfolio's investment objectives, risks, and charges and expenses, which are contained in the Prospectus. Investors should read it carefully before investing. This fund operates as a feeder fund in a master-feeder structure and the holdings listed below are the investment holdings of the corresponding master fund. Your use of this website signifies that you agree to follow and be bound by the terms and conditions of use in the Legal Notices.
    [Show full text]
  • Global Makeover Cover V2.Indd 12/21/2010 3:18:21 PM
    (1,1) -1- FINAL_global makeover cover v2.indd 12/21/2010 3:18:21 PM � e 11 studies in this book show the “makeover” that selected countries in Asia have undergone due to globalization. Clearly, the la� er’s eff ects go beyond economics as Asian politics and culture (including media) tend to evolve due to the changing times. While these studies do not cover the entire Asian experience with regard to globalization and other in� uences, they nevertheless give interested readers the speci� c experience in selected Asian countries like the Philippines, Korea and East Timor while providing a general context of Asian media and culture. Editor’s Introduction Regional Contexts of Media Cooperation and Artistic Collaboration in East Asia by Caroline S. Hau Whose Stories Do We Listen To? World-System and the Pa� ern of International News Flow global makeover by Seung Joon Jun and Ju-Yong Ha A Yearning for Tenderness in Korean Cinema Media and Culture in Asia by Ju-Yong Ha and Joel David Cultural Proximity and Cultural Distance: � e Reception of Korean Films in China � rough the Case of My Sassy Girl in the Early 2000s by Ying Huang and Kwang Woo Noh Edited by Danilo Araña Arao � e ‘English Fever’ in Korea by Doobo Shim and Joseph Sung-Yul Park � e New Fantasy-Adventure Film as Contemporary Epic, 2000-2007 by Patrick F. Campos � e Alternative Metaphor in Metaphors: Discursive ‘Readings’ on Language, Symbols and Enculturation in Philippine Cinema and Other Media by Shirley Palileo-Evidente Orientalism and Classical Film Practice by Joel David � e Grassroots Approach to Communication: How Participatory Is Participatory Communication in the Philippines? by Randy Jay C.
    [Show full text]
  • EU-South Korea: Current Trends of Cultural Exchange and Future Perspectives by Marie Le Sourd, Elena Di Federico and Sung-Won Yoon
    EU-South Korea: Current Trends of Cultural Exchange and Future Perspectives by Marie Le Sourd, Elena Di Federico and Sung-Won Yoon EENC Report, November 2012 (partially updated, September 2013 ) EU-South Korea: Current Trends of Cultural Exchange and Future Perspectives by Marie Le Sourd, Elena Di Federico and Sung-Won Yoon EENC Report, November 2012 (partially updated, September 2013) This document has been prepared by Marie Le Sourd assisted by Elena Di Federico (staff at on-the- move.org) and Dr Sung-Won Yoon, Research Professor, Global Research Institute Graduate School of International Studies (GSIS), Korea University on behalf of the European Expert Network on Culture (EENC). Judith Staines, Editor of the website culture360.org and consultant for some South Korean organisations (such as KAMS) was the peer editor of this whole report, together with Jordi Baltà, researcher and programme coordinator at the Interarts Foundation and scientific coordinator of the EENC. The report was carried out between September and November 2012. Some tables in the main report and in the annexes were updated in September 2013, as duly noted throughout the document. The EENC was set up in 2010 at the initiative of Directorate-General for Education and Culture of the European Commission (DG EAC), with the aim of contributing to the improvement of policy development in Europe. It provides advice and support to DG EAC in the analysis of cultural policies and their implications at national, regional and European levels. The EENC involves 17 independent experts and is coordinated by Interarts and Culture Action Europe. For additional information see www.eenc.eu.
    [Show full text]
  • Negotiating Transnational Collaborations with the Chinese Film Industry
    University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Negotiating Transnational Collaborations with the Chinese Film Industry Kai Ruo Soh University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Soh, Kai Ruo, Negotiating Transnational Collaborations with the Chinese Film Industry, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2019.
    [Show full text]
  • Annual Financial Report of Kt Corporation
    ANNUAL FINANCIAL REPORT OF KT CORPORATION (From January 1, 2012 to December 31, 2012) Table of Contents I. Corporate General ........................................................................................ 3 1. Corporate Purpose of KT Corporation .......................................................... 3 2. History ............................................................................................... 3 3. Total Number of Shares and Related Matters ................................................ 4 4. Voting Rights ....................................................................................... 6 5. Dividends and Related Matters .................................................................. 6 II. Business Details........................................................................................... 7 1. Overview ............................................................................................ 7 2. Main Products and Services ..................................................................... 25 3. Matters Related to Revenue .................................................................... 30 4. Research and Development Activities ........................................................ 41 5. Other Matters Necessary for Making Investment Decisions................................ 42 III. Financial Information ................................................................................. 43 1. Summary of Financial Statements (Consolidated) .......................................... 43 2.
    [Show full text]