• Title/Summary/Keyword: Chinese and Korean co-production movies

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Cultural Discount Analysis of Chinese and Korean Co-production Movies (한중 합작 영화의 문화 할인 분석)

  • Yang, Li-Juan
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.6
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    • pp.103-111
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    • 2019
  • Under the background of globalization, the borderless nature of film and television language makes the exchange of film as the carrier become an important part of cultural exchanges in various countries. Therefore, film co-production between China and the United States, China and Japan, China and South Korea and other countries has become an important part of the current Chinese film industry. Among them, China and South Korea are close neighbors, and the exchanges between the two countries' films are also increasing. Korean movies have recovered since the 1990s, and they prospered at the beginning of the 21st century, and have formed a unique influence in the international community, especially in crime, suspense, love and other types of films. The co-production of Chinese and Korean films began to appear in 2000, and the signing of the "China-Korea Co-production Film Agreement" in 2014 prompted the rapid convergence of Chinese and Korean film co-productions. However, the co-productions of China and South Korea did not achieve good expectations in terms of communication effects and market evaluation. This article will use the "cultural discount" theory in cross-cultural communication to analyze the reasons for the cultural discounts produced by Chinese and Korean co-productions and how to avoid this phenomenon to the maximum extent.

China Film Market Entry Strategy for Success of Movies: A-Hong Kong Co-production, Focusing on the Experiences and Lessons Learned(1956-1982) (중국 영화시장 진출 성공을 위한 연구: 한-홍 공동제작의 경험과 교훈을 중심으로(1956~1982))

  • Kim, Jin-Young;Kim, Jae-Woong
    • The Journal of the Korea Contents Association
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    • v.10 no.11
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    • pp.136-145
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    • 2010
  • China shows an evident growth in its visual culture in recent years, fueled by its accumulated wealth and the influx of relatively advanced visual culture from Hong Kong. There have been recent attempts to further the economic ties with Taiwan to form a pan-Chinese film market. Considering most Chinese blockbusters are produced by film makers in Hong Kong, it is safe to claim that Chinese films are the extension of Cantonese films. This text examines the past makings of Korean-Cantonese films and their influence. Based on the findings, it explores the necessary efforts on a civil level and the governmental support, required for Korea to make its way into the pan-Chinese film market as an equal participant. Such foundation would protect Korean film market in the midst of fast-changing media scape and serve as a stepping stone for Korea's advance into the pan-Chinese visual market.