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New Zealand Meets South Korea: Strategies for Film Co-Productions Between Two Countries

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New Zealand Meets South Korea: Strategies for Film Co-Productions Between Two Countries http://researchcommons.waikato.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. New Zealand meets South Korea: Strategies for film co-productions between two countries A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Screen and Media Studies Department at The University of Waikato by JuHee Kim Year of submission 2017 Abstract This study investigates the state of international film co-productions between New Zealand and South Korea and whether such co-productions are possible, and if so, which modes or types of film co-productions are likely to succeed. The study is framed in the context of the two countries as well as the rapidly changing global marketplace. Increasingly, international film co-productions have gained importance in the film industry paralleling a growing tendency towards cross- border filmmaking. However, the phenomenon of international film co- productions, specifically between New Zealand and South Korea, has not been fully investigated to date. A review of existing approaches to international film co-productions did not provide a sufficiently comprehensive theoretical framework for this study. It therefore draws on four different approaches: political economy, social exchange theory (the reciprocal exchange model), Cultural Studies (focusing on cultural proximity and discount), and transnational approaches. Post-positivism provides a theoretical research perspective and the research method employed was a mixed- methods. The secondary data was analysed and discussed for the two governments’ film policies and their impact on the co-productions of these two countries. Extensive in-depth interviews with key respondents point five influential factors (political, economic, personal, cultural and industrial) for New Zealand-South Korean film co-productions. A case study of The Warrior’s Way (2010) was undertaken in order to examine how these five factors have practically impacted on one example of international film co-production. This study proposes a conceptual framework drawing upon four approaches to explore multi-layered and multifaceted international film co-productions, and each approach in the framework has made its own contributions to film studies in the academic literature. The findings of this thesis show that it has been difficult for official productions between these countries to happen despite the film agreement between them. Consequently, it is suggested that the option of undertaking unofficial film co-productions is a better one. Three modes for unofficial productions, particularly addressed to those South Korean filmmakers who desire to make New Zealand-South Korean co-productions are suggested. iii Acknowledgements My thesis could not have been completed without the infinite patience, and continued emotional, intellectual and spiritual support from those who have encouraged and helped me. I do not know how to express my sincere gratitude to my supervisors, Associate Professor Geoff Lealand and Dr. Ann Hardy. They have guided and encouraged me throughout my PhD’s life with professional knowledge and warmhearted minds offering informative and valuable information on this thesis and comprehensive and detailed comments on my work. It is fortunate for me to have such supervisors who have enthusiasm for and interest in this research topic. Without their unfailing support and endless patience, my thesis would not have come into being. The participants in this study deserve my appreciation. In the midst of their busy schedule, they made time for sharing their experiences and opinions with me and also helped me recruit other participants. I am very grateful to my mother and younger brother for their enormous support, encouragement and consideration. They are my true guardian angels. Thanks a million to my friends in New Zealand and South Korea for making happy and memorable memories and helping me overcome many challenges I encountered during this period. My special thanks go to Nyamaamaa Avirmed, Heather Morrell and Angela Scarsbrook who have always given me a hand whenever I have needed it and made good suggestions for my any questions. Lastly, I would like to deeply thank Venerable Tenzin who taught me how to keep inner peace in my life. Taking part in mediation hosted by him provided me with the source of power to go through this long journey. v Table of Contents Abstract ................................................................................................................. iii Acknowledgements ................................................................................................ v Table of Contents ................................................................................................ vii List of Figures ....................................................................................................... xi List of Tables ...................................................................................................... xiii Chapter 1 Introduction ......................................................................................... 1 1.1 Definition of international film co-productions ................................ 2 1.2 Significance of the research .............................................................. 4 1.3 Research objectives ........................................................................... 7 1.4 Structure of this thesis ....................................................................... 8 Chapter 2 Comparison between New Zealand and South Korean cultures .. 11 2.1 Introduction ..................................................................................... 11 2.2 General features of New Zealand and South Korea ........................ 11 2.3 New Zealand and South Korean film cultures ................................ 16 2.4 Relationship between New Zealand and South Korea .................... 24 2.5 Summary ......................................................................................... 27 Chapter 3 Literature Review ............................................................................. 29 3.1 Overview ......................................................................................... 29 3.2 Political economy approach ............................................................ 29 3.2.1 Introduction ................................................................................ 29 3.2.2 American cultural imperialism ................................................... 33 3.2.3 Governments’ policies and their impact on the production of media ........................................................................................................ 34 3.2.4 Emergence of cultural regionalisation in East Asia ................... 46 3.3 Social exchange theory ................................................................... 54 3.3.1 Introduction ................................................................................ 54 3.3.2 Reciprocal exchanges ................................................................. 54 3.4 Cultural Studies approach ............................................................... 57 3.4.1 Introduction ................................................................................ 58 3.4.2 Cultural proximity ...................................................................... 59 3.4.3 Cultural discount ........................................................................ 63 3.4.4 Genres ......................................................................................... 65 vii 3.5 Transnational approach.................................................................... 67 3.5.1 Introduction ................................................................................. 67 3.5.2 Transnational Cinema ................................................................. 70 3.5.3 Categories of transnational cinema and cinematic transnationalism ......................................................................................... 73 3.6 A conceptual framework for this study ........................................... 79 Chapter 4 Methodology ...................................................................................... 81 4.1 Introduction ..................................................................................... 81 4.2 Research paradigm .......................................................................... 81 4.2.1 Theoretical perspective: Post-Positivism .................................... 81 4.2.2 Qualitative research .................................................................... 87 4.2.3 A mixed methods approach ........................................................ 92 4.3 Data collection and analysis ............................................................ 93 4.3.1 Collecting and analysing of secondary data
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