联合国贸易发展委员会-K-content走向全球：政府支持和版权政策如何推动大韩民国的创意经济（英）.docx

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1、K-CONTENTgoesglobal：HOWGOVERNMENTSUPPORTANDCOPYRIGHTPO1.ICYFUE1.1.EDTHEREPUB1.ICOFKOREASCREATIVEECONOMY2024,UnitedNationsThisworkisavailablethroughopenaccess,bycomplyingwiththeCreativeCommonslicencecreatedforintergovernmentalorganizations,athttp:CreatiVeCornmc)ns.orIiCeSSeSby3.0io.Thefindings,interp

2、retationsandconclusionsexpressedhereinarethoseoftheauthor(三)anddonotnecessarilyreflecttheviewsoftheUnitedNationsoritsofficialsorMemberStates.ThedesignationsemployedandthepresentationofmaterialonanymapinthisworkdonotimplytheexpressionofanyopinionwhatsoeveronthepartoftheUnitedNationsconcerningthelegal

3、statusofanycountry,territory,cityorareaorofitsauthorities,orconcerningthedelimitationofitsfrontiersorboundaries.MentionofanyfirmorlicensedprocessdoesnotimplytheendorsementoftheUnitedNations.Photocopiesandreproductionsofexcerptsareallowedwithpropercredits.Thispublicationhasnotbeenformallyedited.Unite

4、dNationspublicationissuedbytheUnitedNationsConferenceonTradeandDevelopmentNCTADDITCTSCE20233ISBN:978-92-1-358548-1AcnowledgementsAcknowledgementsThestudywasprepared,underthegeneralguidanceofTaisukeIto,DongWuandMarisaHendersonoftheTradingSystems,ServicesandCreativeEconomyBranchattheUnitedNationsConfe

5、renceonTradeandDevelopment(UNCTAD),byTaeHeeKimiincollaborationwithKatalinBokor.MihoShirotori,theActingDirectoroftheDivisiononInternationalTradeandCommoditiesatUNCTAD,providedthestrategicguidanceandoversightforthepublication.UNCTADgratefullyacknowledgesthesignificantntributionstothestudyofJenSnowball

6、(RhodesUniversity,SouthAfrica).ThestudyalsobenefitedfromextensivecommentsandresourcesprovidedbytheMinistryofCulture,Sports,andTourismaswellasexternalexpertsoftheRepublicofKoreaspecializingincontent-basedindustriesandcopyright.ExternalexpertsincludedYoungHoonSongandDongWook1.eefromtheKoreaCreativeCon

7、tentAgency,JinTae1.eeandYunSeokPakfromtheKoreaCopyrightCommission,andChoeKyongSoofromtheKoreaDevelopmentInstitute(KDI)SchoolofPublicPolicyandManagement.SubstantiveandeditorialfeedbackwasprovidedbythefollowingUNCTADstaffmembers:GrahamMott,ZenathanAdminHasannudin,YutaroSakataand1.auraMoresino-Borini.D

8、esignandlayoutworkwasdoneby1.auraMoresino-Borini.ABBREVIATIONSANDACRONYMSAbbreviationsandacronymsCMOcopyrightmanagementorganizationFTAfreetradeagreementIPRintellectualpropertyrightsISPInternetserviceproviderKCCKoreaCopyrightCommissionKCOPAKoreaCopyrightProtectionAgencyMCSTMinistryofCulture,Sports,an

9、dTourismKCTIKoreaCultureandTourismInstituteKOCCAKoreaCreativeContentAgencyKOFICEKoreaFoundationforInternationalCulturalExchangeKOTECKoreaTechnologyFinanceCorporationKOTRAKoreaTrade-InvestmentPromotionAgencyNIPANationalITIndustryPromotionAgencyOECDOrganizationforEconomicCo-operationandDevelopmentRMIr

10、ightsmanagementinformationRTAregionaltradeagreementSNSsocialnetworkingserviceTPMtechnologicalprotectionmeasuresTRIPsTrade-RelatedAspectsofIntellectualPropertyRightsUCCUniversalCopyrightConventionWIPOWTOWorldIntellectualPropertyOrganizationWorldTradeOrganizationCONTENTSContentsAcknowledgementsiiiAbbr

11、eviationsandacronymsivINTRODUCTION1I. THEPURPOSEOFCU1.TURA1.PO1.ICYANDTHERATIONA1.EFORGOVERNMENTSUPPORTFORTHEARTS3II. OVERVIEWOFTHECONTENT-BASEDINDUSTRY9A. Globalmarkettrends10B. Content-basedindustrytrendsintheRepublicofKorea12III. PO1.ICYOFTHEGOVERNMENTOFTHEREPUB1.ICOFKOREAFORTHECONTENT-BASEDINDUS

12、TRIES15A. Publicpolicyforthegrowthofthecontent-basedindustry16B. Copyrightpolicytoincentivizecreatorsandprotectcopyrightedworks18C. Financialincentives22D. Institutionalframework231. 1.egislativeframework232. Governance25CONC1.USIONANDIMP1.ICATIONS27Endnotes33References37Annexes1. Top25economieswith

13、largestrevenuesinthecontent-basedindustries432. Trendsinthecontent-basedindustryoftheRepublicofKorea,2016-202044Boxes1. OverviewofthegrowthoftheKoreanwaveorHallyu142. SuccessfactorsdrivingthepopularityoftheKoreanwaveorHallyu173. BrandpoweroftheRepublicofKoreaassociatedwiththeKoreanwaveorHallyu26Figu

14、res1. Globalmarketsizeofthecontent-basedindustries102. Globalmarketsizeoftheanimation,film,andmusicindustries113. Totalsales,exports,andemploymentinthesectorsoftheRepublicofKoreacontent-basedindustry134. Intellectualpropertyrightsandcopyrightstradebalance145. Timelineofpolicymeasures,domesticsalesan

15、dexportsofcontent-basedindustryintheRepublicofKorea16TablesCONTENTS1. Sizeoftheglobalcontent-basedmarket122. Illustrativemeasuresoncopyright193. MainrevisionsoftheCopyrightActintheRepublicofKorea214. 1.awsrelatedtothecontent-basedindustryintheRepublicofKorea24Creativeindustriesareamongtheworldsmostr

16、apidlyexpandingsectors,offeringaviableavenueforeconomicdevelopment,particularlyfordevelopingcountries.Creativeindustriescanbedefinedas“industrialsectorswhichcomprisetangibleproductsandintangibleintellectualorartisticserviceswithcreativecontent,enomicvaluesandmarketobjectives(UNCTAD,2022a).Content-ba

17、sedindustries,asubsetofcreativeindustries,encompassvariouscontent-producingsectors.(EuropeanCommission,2018;UNCTAD,2022a;WIPO,2018).Thecontentbasedindustrycomprisestheculturalsector,creativeandartisticsectors,publishing,music,broadcasting,andfilm.Duetotheinherentexpansivenessofntentandadvancementsin

18、digitaltechnologies,thecontent-basedindustrynotonlyevolvesitselfbutalsospursgrowthinothersectorssuchasplatformsandonlineretail.This,inturn,significantlycontributestothebroaderdevelopmentofthecreativeeconomyinthedigitalage(MCST,2010a).Therehasbeenaworldwideshiftfromseeingtheculturalsectorasassociated

19、withpublicgoodsthatprovideprimarilynon-marketvalues,toseeingthecreativeindustriesasanindustrialsectorintheirownright(UNCTAD,2022;1.ee12020).Thisnewconceptualisationhasalsoledtoashiftinculturalpolicy:fromstrategiesthatfocusonsubsidisingasectorthatprovidespublicgoods(intrinsicartisticexcellence;social

20、cohesion;heritageandidentity)tostrategiesmuchmorerelatedtoindustrialpolicy.INTRODUCTIONNewemergingtechnologiessuchasartificialintelligence,cloudcomputingand3Dprintinghavefundamentallychangedsomepartsofthecreativeindustries,generatingnewbusinessmodelsinthevaluechainsofproducing,distributing,andconsum

21、ingcreativegoodsandservices(MCST,2010a;UNCTAD,2022a).Forexample,onlineplatforms,byusingartificialintelligencetechnologies,providepersonalizedmusicorfilmntenttoeachnsumer.TheCOVID-19pandemicacceleratedtheshifttoe-mmerceanddigitalplatformsandtherapidmovetodigitalcontentservices(Ryu,2021).Giventhepaceo

22、fdigitalizationandtheevolvingbusinesslandscape,newpolicychallengesinevitablyariseforthegrowthofcontent-basedindustry.Thesechallengesincludefosteringdigitalcompetencies;cultivatingaconduciveenvironmentforcreativeindustries,especiallyinviewoftheirhigh-risknature;andformulatingsuitableinstitutionalfram

23、eworks(UNCTAD,2022).Sincethe2000s,theRepublicofKoreahaschampionedthedevelopmentofthecontent-basedindustryasacornerstoneforeconomicgrowth,followingthenationalagendatoboosthigh-valueactivitiesandhigh-qualityemploymentintheeraofthe4thIndustrialRevolution.Thispaperdelvesintothecontent-basedindustryofthe

24、RepublicofKorea1withaviewtobetterunderstandingthefactorsinfluencingitssuccessand,inparticular,theroleoftheGovernmentoftheRepublicofKoreaspolicytosupportthecontent-basedindustryasanewengineofgrowthfortheeconomy.ThereportthusprovidesaninsiderviewofthewaysinwhichtheRepublicofKoreahasusedaveryspecificki

25、ndofculturalpolicytodrivethephenomenalcreativeindustriessuccessoftheKoreanWave,alsoreferredtoastheHallyueffect.Thenextchapterbrieflyreviewsdebatesaboutthepurposeandrolesofculturalpolicyinaninternationalcontext,andhowthecreativeindustriesandthedigitisationofculturalcontenthavechangedtheseideas.Defini

26、ngtheculturalsectorandthecreativeindustries:AnevolvingdebateDefiningtheculturalsectorandthecreativeindustriesinrelationtothepurposeandscopeofculturalpolicyisanevolvingdebate.Throsby(2010)identifiedthreecharacteristicsoftheculturaleconomy:(i)itinvolvessomeaspectofhumancreativityinproduction;(ii)itpro

27、ducesgoodsandservicesthathavesymbolicvaluesandmeanings;and(iii)itcreatesintellectualproperty.UNCTAD(2008and2022)buildsonthisbyaddinglinkstotheknowledgeeconomyandtotechnology,whichisofparticularimportanceforthemorecommercialcreativeindustries.Originally,culturalpolicywaslimitedtowtheartsandheritage,w

28、hichwereoftenprovidedbynon-profitorganisations.Morecommercial,popularcultureformswereexcludedfromdiscussionofculturalpolicy,whichwasjustifiedprimarilythroughthepublicgoodnatureofartsandculture.However,globalisationanddigitisationshiftedthisdebatedramatically(Cunningham,2004).Originallyseenasapotenti

29、althreattothearts,theconcentriccirclesmodellinkedartsandcultureandthecreativeindustriestogether,proposingthatthecoreculturalsectors(literature,music,performingandvisualarts),providedthententforwiderandrelatedsectorswithmorecommercialapplications,suchasaudio-visualproduction,videogames,architecturean

30、ddesign(Throsby12008).Thelatter,whichmadeupthecreativeindustries,wereconnectedtothecoreculturalsectorinthattheydrewonthemforinspiration,andproducedoutputsthatcouldbeprotectedbycopyright,buttheydidnotnecessarilyhavehighlevelofsymbolicculturalcontent.Thecreativeindustriesaredefinedindifferentwaysbydif

31、ferentcountriesandorganisations,whichhasledtosomedebatesabouthowtomeasureandmanagethecreativeeconomy.Althoughthereareanumberofframeworks,thereisnointernationalconsensusonexactlywhattoinclude.IntheRepublicofKorea,thetermcreativeindustries*hasnotgainedsupport,andthesectorisrefereedtoinsteadastheconten

32、tindustry,orthe,ntent-basedindustry;1.ee(2020)pointsoutthat,intheRepublicofKorea,unlikeinotherwesterncountries,therehasnotbeenmuchdebateaboutwhatthecontentindustryincludesorexcludes.Ratherthandefiningthesectorasbasedonsomephilosophicalconceptionofhumancreativity,thecontentindustryisapracticalpolicyt

33、ermreferringtothetradableoutputsproducedbythesector.Regardlessofhowtheyaredefined,however,thecreativeorcontentindustrieshavenecessitatedashiftinthinkingaboutculturalpolicy(UNCTAD,2022).CHAPTERI:THEPURPOSEOFCU1.TURA1.PO1.ICYANDTHERATIONA1.EFORGOVERNMENTsupportforthearts1.THEPURPOSEOFCU1.TURA1.PO1.ICY

34、ANDTHERATIONA1.EFORGOVERNMENTSUPPORTFORTHEARTSUNCTAD(2022a)notesthat,since2015,therehasbeenarapidincreaseinthenumberofuntriesthathaveputinplacestrategiestosupportandregulatethecreativeindustries.Thisisespeciallybeingdrivenbydevelopingeconomies,whichhaveidentifiedtheirculturalcapitalasavaluableresour

35、ce,notonlyforitsintrinsicandsocialvalues,butalsoforitseconomicandpoliticalpotential.Asthisreportshows,developingmiddleincomecountriesarenotonlyincreasinglylargeplayersintheproductionofdigitalonlinecontent,theyarealsosomeofthefastestgrowingmarkets.Whiletheworldslargeenomiesstilldominate,thetop25count

36、riesintermsofntent-basedindustryspendingnowalsoincludetheRepublicofKorea,India,Brazil,SouthAfricaandMexico.Someauthors(Scibiorska-KowalczykandCichon12021;UNCTAD,2023)alsosuggestthattheculturalindustriesofferemergingeconomiesanimportant,andenvironmentallysustainable,pathtodevelopment,asanalternativet

37、oenvironmentallydamagingextractionindustries.Inadditiontocontributingtoeconomicgrowthandwelfareimprovements,thecreativeindustriescanhelptobuildapositiveimageofacountryininternationalmarkets,withcanalsoincreasetourismandsoftpower.Oneofthemostpowerfultraditionalargumentsforthepublicsupportofarts,cultu

38、reandheritageisthatthesectorcontributesgoodthingstosocietybeyondwhatprivateconsumersgain(Borowiecki,Gray,andHeilbrunforthcoming).Becauseatleastsomeofthesocialbenefitsthattheculturalsectorprovidesarepublic,producersareunabletocaptureenoughofthevalueofwhattheyproducetohaveanincentivetoprovidethesocial

39、lyoptimumquantityofartsandculture.Thewelfareeconomicssolutiontosuchmarketfailureisforgovernmenttostepinandfillthegapwitheitherdemandorsupplysidepolicies(Throsby,2010;Towse,2010).Morerecently,researchhasshownthatthecreativeindustriesareafast-growingeconomicsectorintheirownrightand,assuch,deservetheat

40、tentionandpublicsupportaccordedtootherimportanteconomicsectors.Inadditiontotheirculturalvalues,creativeindustriescanalsoplananimportantpartineconomicobjectives,suchasjobcreation,economicgrowth,tourismdevelopment,andinnovationsleadingtocommercialisationandprofit.Inthepast,theeconomicimpactsoftheartsw

41、erenotregardedaslargeorimportant,andthesectorwasgenerallynotmeasuredinthisway.However,withtheriseoftheculturalindustriesdiscourse,theenomicvaluesassociatedwiththeartsarebeingregardedasincreasinglyimportant.PottsandCunningham(2008)describefourmodelsofthecreativeindustries,eachofwhichisassociatedwithp

42、articularvalues,andwhichdemandadifferentkindofpolicy.Forexample,ifartsandcultureisregardedinthetraditionalwayofbeingapublicgoodthatprovidessocialbenefits(referredtoasthewelfaremodel),thentheappropriateculturalpolicyisgovernmentsubsidy.However,thecompetitivemodelofthecreativeindustriesfocusesonfirmsa

43、sdriversofeconomicgrowthandjobcreation,sotheresponseisindustrialpolicyregulationtopromotecompetitionandprovideaccesstofinancing.Thegrowthmodelseesthecreativeindustriesasadistinctsectorcontributingtoeconomicgrowth,jobsandtrade,sopolicyshouldbefocusedonpublicandprivateinvestmentandsuccessismeasuredthr

44、oughfinancialreturns.Finally,theinnovationmodelseesthecreativeindustriesaspartofthenationalsystemofinnovation,whichgeneratesbothsocialandcommercialreturns.Althoughacknowledgedasrisky(inthesamewaythatinvestmentinresearchanddevelopmentis),theappropriatepublicpolicyresponseispublicinvestmenttogenerateb

45、othdirectfinancialreturns,butalsotobenefitfrominnovationspill-oversintootherindustries.However,althoughthesedifferentconceptionsofthecreativeindustriesofferculturalpolicyoptions,theyaremoregenerallyapplicabletothemarket-friendlyapproachfollowedbytheglobalnorth.1.ee(2020)contentsthatresearchoncultura

46、lpolicyhastendedtofocusonwesternconceptionsoftheroleofmarket,withmuchlessattentiongiventheothercontexts,likeAsiaandAfrica.Westernculturalpolicytendstofocusonmoregeneric,horizontal(ascomparedtotop-down)policies,whicharenotspecifictoanyparticularindustry(withthenotableexceptionoffilm).Suchpoliciesincl

47、udetheprovisionofinfrastructure,generalsupportforinnovation,balancedregionaldevelopment,andnon-specificeducationandhumancapitaldevelopmentthatareaimedatimprovinggeneralcompetitiveness.Itislefttothemarkettodeterminethewinners”,andthemarketisassumedtoleadtothemostefficientoutcome.Theroleofgovernmentis

48、thuslimitedtocorrectingmarketfailures(inthecaseofpublicgoods)andprovidingabusiness-friendlyenvironmentthrough,forexample,providingaccesstofinanceandprotectingintellectualpropertyrights(1.ee,2020).1.THEPURPOSEOFCU1.TURA1.PO1.ICYANDTHERATIONA1.EFORGOVERNMENTSUPPORTFORTHEARTSTheculturalpolicyoftheRepublicofKorea,however,focusesonhighlyspecificinterventionsinparticularindustries,whichareselectedforpromotionwithaviewtoincreasingtheirgrowthandexportearnings.Thereisnoassumptionbypolicymakersthatthemarketwillleadtotheefficientordesiredoutcomeswithoutstrongdirectionfromgo