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

K-CONTENTgoesglobal：HOWGOVERNMENTSUPPORTANDCOPYRIGHTPO1.ICYFUE1.1.EDTHEREPUB1.ICOFKOREA'SCREATIVEECONOMY©2024,UnitedNationsThisworkisavailablethroughopenaccess,bycomplyingwiththeCreativeCommonslicencecreatedforintergovernmentalorganizations,athttp:CreatiVeCornmc)ns.orIiCeSSeSby3.0io.Thefindings,interpretationsandconclusionsexpressedhereinarethoseoftheauthor(三)anddonotnecessarilyreflecttheviewsoftheUnitedNationsoritsofficialsorMemberStates.ThedesignationsemployedandthepresentationofmaterialonanymapinthisworkdonotimplytheexpressionofanyopinionwhatsoeveronthepartoftheUnitedNationsconcerningthelegalstatusofanycountry,territory,cityorareaorofitsauthorities,orconcerningthedelimitationofitsfrontiersorboundaries.MentionofanyfirmorlicensedprocessdoesnotimplytheendorsementoftheUnitedNations.Photocopiesandreproductionsofexcerptsareallowedwithpropercredits.Thispublicationhasnotbeenformallyedited.UnitedNationspublicationissuedbytheUnitedNationsConferenceonTradeandDevelopmentNCTADDITCTSCE20233ISBN:978-92-1-358548-1AcnowledgementsAcknowledgementsThestudywasprepared,underthegeneralguidanceofTaisukeIto,DongWuandMarisaHendersonoftheTradingSystems,ServicesandCreativeEconomyBranchattheUnitedNationsConferenceonTradeandDevelopment(UNCTAD),byTaeHeeKimiincollaborationwithKatalinBokor.MihoShirotori,theActingDirectoroftheDivisiononInternationalTradeandCommoditiesatUNCTAD,providedthestrategicguidanceandoversightforthepublication.UNCTADgratefullyacknowledgesthesignificantntributionstothestudyofJenSnowball(RhodesUniversity,SouthAfrica).ThestudyalsobenefitedfromextensivecommentsandresourcesprovidedbytheMinistryofCulture,Sports,andTourismaswellasexternalexpertsoftheRepublicofKoreaspecializingincontent-basedindustriesandcopyright.ExternalexpertsincludedYoungHoonSongandDongWook1.eefromtheKoreaCreativeContentAgency,JinTae1.eeandYunSeokPakfromtheKoreaCopyrightCommission,andChoeKyongSoofromtheKoreaDevelopmentInstitute(KDI)SchoolofPublicPolicyandManagement.SubstantiveandeditorialfeedbackwasprovidedbythefollowingUNCTADstaffmembers:GrahamMott,ZenathanAdminHasannudin,YutaroSakataand1.auraMoresino-Borini.Designandlayoutworkwasdoneby1.auraMoresino-Borini.ABBREVIATIONSANDACRONYMSAbbreviationsandacronymsCMOcopyrightmanagementorganizationFTAfreetradeagreementIPRintellectualpropertyrightsISPInternetserviceproviderKCCKoreaCopyrightCommissionKCOPAKoreaCopyrightProtectionAgencyMCSTMinistryofCulture,Sports,andTourismKCTIKoreaCultureandTourismInstituteKOCCAKoreaCreativeContentAgencyKOFICEKoreaFoundationforInternationalCulturalExchangeKOTECKoreaTechnologyFinanceCorporationKOTRAKoreaTrade-InvestmentPromotionAgencyNIPANationalITIndustryPromotionAgencyOECDOrganizationforEconomicCo-operationandDevelopmentRMIrightsmanagementinformationRTAregionaltradeagreementSNSsocialnetworkingserviceTPMtechnologicalprotectionmeasuresTRIPsTrade-RelatedAspectsofIntellectualPropertyRightsUCCUniversalCopyrightConventionWIPOWTOWorldIntellectualPropertyOrganizationWorldTradeOrganizationCONTENTSContentsAcknowledgementsiiiAbbreviationsandacronymsivINTRODUCTION1I. THEPURPOSEOFCU1.TURA1.PO1.ICYANDTHERATIONA1.EFORGOVERNMENTSUPPORTFORTHEARTS3II. OVERVIEWOFTHECONTENT-BASEDINDUSTRY9A. Globalmarkettrends10B. Content-basedindustrytrendsintheRepublicofKorea12III. PO1.ICYOFTHEGOVERNMENTOFTHEREPUB1.ICOFKOREAFORTHECONTENT-BASEDINDUSTRIES15A. Publicpolicyforthegrowthofthecontent-basedindustry16B. Copyrightpolicytoincentivizecreatorsandprotectcopyrightedworks18C. Financialincentives22D. Institutionalframework231. 1.egislativeframework232. Governance25CONC1.USIONANDIMP1.ICATIONS27Endnotes33References37Annexes1. Top25economieswithlargestrevenuesinthecontent-basedindustries432. Trendsinthecontent-basedindustryoftheRepublicofKorea,2016-202044Boxes1. OverviewofthegrowthoftheKoreanwaveorHallyu142. SuccessfactorsdrivingthepopularityoftheKoreanwaveorHallyu173. BrandpoweroftheRepublicofKoreaassociatedwiththeKoreanwaveorHallyu26Figures1. Globalmarketsizeofthecontent-basedindustries102. Globalmarketsizeoftheanimation,film,andmusicindustries113. Totalsales,exports,andemploymentinthesectorsoftheRepublicofKoreacontent-basedindustry134. Intellectualpropertyrightsandcopyrightstradebalance145. Timelineofpolicymeasures,domesticsalesandexportsofcontent-basedindustryintheRepublicofKorea16TablesCONTENTS1. Sizeoftheglobalcontent-basedmarket122. Illustrativemeasuresoncopyright193. MainrevisionsoftheCopyrightActintheRepublicofKorea214. 1.awsrelatedtothecontent-basedindustryintheRepublicofKorea24Creativeindustriesareamongtheworld'smostrapidlyexpandingsectors,offeringaviableavenueforeconomicdevelopment,particularlyfordevelopingcountries.Creativeindustriescanbedefinedas“industrialsectorswhichcomprisetangibleproductsandintangibleintellectualorartisticserviceswithcreativecontent,enomicvaluesandmarketobjectives"(UNCTAD,2022a).Content-basedindustries,asubsetofcreativeindustries,encompassvariouscontent-producingsectors.(EuropeanCommission,2018;UNCTAD,2022a;WIPO,2018).Thecontentbasedindustrycomprisestheculturalsector,creativeandartisticsectors,publishing,music,broadcasting,andfilm.Duetotheinherentexpansivenessofntentandadvancementsindigitaltechnologies,thecontent-basedindustrynotonlyevolvesitselfbutalsospursgrowthinothersectorssuchasplatformsandonlineretail.This,inturn,significantlycontributestothebroaderdevelopmentofthecreativeeconomyinthedigitalage(MCST,2010a).Therehasbeenaworldwideshiftfromseeingtheculturalsectorasassociatedwithpublicgoodsthatprovideprimarilynon-marketvalues,toseeingthecreativeindustriesasanindustrialsectorintheirownright(UNCTAD,2022;1.ee12020).Thisnewconceptualisationhasalsoledtoashiftinculturalpolicy:fromstrategiesthatfocusonsubsidisingasectorthatprovidespublicgoods(intrinsicartisticexcellence;socialcohesion;heritageandidentity)tostrategiesmuchmorerelatedtoindustrialpolicy.INTRODUCTIONNewemergingtechnologiessuchasartificialintelligence,cloudcomputingand3Dprintinghavefundamentallychangedsomepartsofthecreativeindustries,generatingnewbusinessmodelsinthevaluechainsofproducing,distributing,andconsumingcreativegoodsandservices(MCST,2010a;UNCTAD,2022a).Forexample,onlineplatforms,byusingartificialintelligencetechnologies,providepersonalizedmusicorfilmntenttoeachnsumer.TheCOVID-19pandemicacceleratedtheshifttoe-mmerceanddigitalplatformsandtherapidmovetodigitalcontentservices(Ryu,2021).Giventhepaceofdigitalizationandtheevolvingbusinesslandscape,newpolicychallengesinevitablyariseforthegrowthofcontent-basedindustry.Thesechallengesincludefosteringdigitalcompetencies;cultivatingaconduciveenvironmentforcreativeindustries,especiallyinviewoftheirhigh-risknature;andformulatingsuitableinstitutionalframeworks(UNCTAD,2022).Sincethe2000s,theRepublicofKoreahaschampionedthedevelopmentofthecontent-basedindustryasacornerstoneforeconomicgrowth,followingthenationalagendatoboosthigh-valueactivitiesandhigh-qualityemploymentintheeraofthe4thIndustrialRevolution.Thispaperdelvesintothecontent-basedindustryoftheRepublicofKorea1withaviewtobetterunderstandingthefactorsinfluencingitssuccessand,inparticular,theroleoftheGovernmentoftheRepublicofKorea'spolicytosupportthecontent-basedindustryasanewengineofgrowthfortheeconomy.ThereportthusprovidesaninsiderviewofthewaysinwhichtheRepublicofKoreahasusedaveryspecifickindofculturalpolicytodrivethephenomenalcreativeindustriessuccessoftheKoreanWave,alsoreferredtoastheHallyueffect.Thenextchapterbrieflyreviewsdebatesaboutthepurposeandrolesofculturalpolicyinaninternationalcontext,andhowthecreativeindustriesandthedigitisationofculturalcontenthavechangedtheseideas.Definingtheculturalsectorandthecreativeindustries:AnevolvingdebateDefiningtheculturalsectorandthecreativeindustriesinrelationtothepurposeandscopeofculturalpolicyisanevolvingdebate.Throsby(2010)identifiedthreecharacteristicsoftheculturaleconomy:(i)itinvolvessomeaspectofhumancreativityinproduction;(ii)itproducesgoodsandservicesthathavesymbolicvaluesandmeanings;and(iii)itcreatesintellectualproperty.UNCTAD(2008and2022)buildsonthisbyaddinglinkstotheknowledgeeconomyandtotechnology,whichisofparticularimportanceforthemorecommercialcreativeindustries.Originally,culturalpolicywaslimitedtowtheartsandheritage",whichwereoftenprovidedbynon-profitorganisations.Morecommercial,popularcultureformswereexcludedfromdiscussionofculturalpolicy,whichwasjustifiedprimarilythroughthepublicgoodnatureofartsandculture.However,globalisationanddigitisationshiftedthisdebatedramatically(Cunningham,2004).Originallyseenasapotentialthreattothearts,theconcentriccirclesmodellinkedartsandcultureandthecreativeindustriestogether,proposingthatthecoreculturalsectors(literature,music,performingandvisualarts),providedthententforwiderandrelatedsectorswithmorecommercialapplications,suchasaudio-visualproduction,videogames,architectureanddesign(Throsby12008).Thelatter,whichmadeupthecreativeindustries,wereconnectedtothecoreculturalsectorinthattheydrewonthemforinspiration,andproducedoutputsthatcouldbeprotectedbycopyright,buttheydidnotnecessarilyhavehighlevelofsymbolicculturalcontent.Thecreativeindustriesaredefinedindifferentwaysbydifferentcountriesandorganisations,whichhasledtosomedebatesabouthowtomeasureandmanagethecreativeeconomy.Althoughthereareanumberofframeworks,thereisnointernationalconsensusonexactlywhattoinclude.IntheRepublicofKorea,theterm"creativeindustries'*hasnotgainedsupport,andthesectorisrefereedtoinsteadasthe"contentindustry,'orthe',ntent-basedindustry;'1.ee(2020)pointsoutthat,intheRepublicofKorea,unlikeinotherwesterncountries,therehasnotbeenmuchdebateaboutwhatthecontentindustryincludesorexcludes.Ratherthandefiningthesectorasbasedonsomephilosophicalconceptionofhumancreativity,thecontentindustryisapracticalpolicytermreferringtothetradableoutputsproducedbythesector.Regardlessofhowtheyaredefined,however,thecreativeorcontentindustrieshavenecessitatedashiftinthinkingaboutculturalpolicy(UNCTAD,2022).CHAPTERI:THEPURPOSEOFCU1.TURA1.PO1.ICYANDTHERATIONA1.EFORGOVERNMENTsupportforthearts1.THEPURPOSEOFCU1.TURA1.PO1.ICYANDTHERATIONA1.EFORGOVERNMENTSUPPORTFORTHEARTSUNCTAD(2022a)notesthat,since2015,therehasbeenarapidincreaseinthenumberofuntriesthathaveputinplacestrategiestosupportandregulatethecreativeindustries.Thisisespeciallybeingdrivenbydevelopingeconomies,whichhaveidentifiedtheirculturalcapitalasavaluableresource,notonlyforitsintrinsicandsocialvalues,butalsoforitseconomicandpoliticalpotential.Asthisreportshows,developingmiddleincomecountriesarenotonlyincreasinglylargeplayersintheproductionofdigitalonlinecontent,theyarealsosomeofthefastestgrowingmarkets.Whiletheworld'slargeenomiesstilldominate,thetop25countriesintermsofntent-basedindustryspendingnowalsoincludetheRepublicofKorea,India,Brazil,SouthAfricaandMexico.Someauthors(Scibiorska-KowalczykandCichon12021;UNCTAD,2023)alsosuggestthattheculturalindustriesofferemergingeconomiesanimportant,andenvironmentallysustainable,pathtodevelopment,asanalternativetoenvironmentallydamagingextractionindustries.Inadditiontocontributingtoeconomicgrowthandwelfareimprovements,thecreativeindustriescanhelptobuildapositiveimageofacountryininternationalmarkets,withcanalsoincreasetourismandsoftpower.Oneofthemostpowerfultraditionalargumentsforthepublicsupportofarts,cultureandheritageisthatthesectorcontributesgoodthingstosocietybeyondwhatprivateconsumersgain(Borowiecki,Gray,andHeilbrunforthcoming).Becauseatleastsomeofthesocialbenefitsthattheculturalsectorprovidesarepublic,producersareunabletocaptureenoughofthevalueofwhattheyproducetohaveanincentivetoprovidethesociallyoptimumquantityofartsandculture.Thewelfareeconomicssolutiontosuchmarketfailureisforgovernmenttostepinandfillthegapwitheitherdemandorsupplysidepolicies(Throsby,2010;Towse,2010).Morerecently,researchhasshownthatthecreativeindustriesareafast-growingeconomicsectorintheirownrightand,assuch,deservetheattentionandpublicsupportaccordedtootherimportanteconomicsectors.Inadditiontotheirculturalvalues,creativeindustriescanalsoplananimportantpartineconomicobjectives,suchasjobcreation,economicgrowth,tourismdevelopment,andinnovationsleadingtocommercialisationandprofit.Inthepast,theeconomicimpactsoftheartswerenotregardedaslargeorimportant,andthesectorwasgenerallynotmeasuredinthisway.However,withtheriseoftheculturalindustriesdiscourse,theenomicvaluesassociatedwiththeartsarebeingregardedasincreasinglyimportant.PottsandCunningham(2008)describefourmodelsofthecreativeindustries,eachofwhichisassociatedwithparticularvalues,andwhichdemandadifferentkindofpolicy.Forexample,ifartsandcultureisregardedinthetraditionalwayofbeingapublicgoodthatprovidessocialbenefits(referredtoasthewelfaremodel),thentheappropriateculturalpolicyisgovernmentsubsidy.However,thecompetitivemodelofthecreativeindustriesfocusesonfirmsasdriversofeconomicgrowthandjobcreation,sotheresponseisindustrialpolicyregulationtopromotecompetitionandprovideaccesstofinancing.Thegrowthmodelseesthecreativeindustriesasadistinctsectorcontributingtoeconomicgrowth,jobsandtrade,sopolicyshouldbefocusedonpublicandprivateinvestmentandsuccessismeasuredthroughfinancialreturns.Finally,theinnovationmodelseesthecreativeindustriesaspartofthenationalsystemofinnovation,whichgeneratesbothsocialandcommercialreturns.Althoughacknowledgedasrisky(inthesamewaythatinvestmentinresearchanddevelopmentis),theappropriatepublicpolicyresponseispublicinvestmenttogeneratebothdirectfinancialreturns,butalsotobenefitfrominnovationspill-oversintootherindustries.However,althoughthesedifferentconceptionsofthecreativeindustriesofferculturalpolicyoptions,theyaremoregenerallyapplicabletothemarket-friendlyapproachfollowedbytheglobalnorth.1.ee(2020)contentsthatresearchonculturalpolicyhastendedtofocusonwesternconceptionsoftheroleofmarket,withmuchlessattentiongiventheothercontexts,likeAsiaandAfrica.Westernculturalpolicytendstofocusonmoregeneric,horizontal"(ascomparedtotop-down)policies,whicharenotspecifictoanyparticularindustry(withthenotableexceptionoffilm).Suchpoliciesincludetheprovisionofinfrastructure,generalsupportforinnovation,balancedregionaldevelopment,andnon-specificeducationandhumancapitaldevelopmentthatareaimedatimprovinggeneralcompetitiveness.Itislefttothemarkettodeterminethe"winners”,andthemarketisassumedtoleadtothemostefficientoutcome.Theroleofgovernmentisthuslimitedtocorrectingmarketfailures(inthecaseofpublicgoods)andprovidingabusiness-friendlyenvironmentthrough,forexample,providingaccesstofinanceandprotectingintellectualpropertyrights(1.ee,2020).1.THEPURPOSEOFCU1.TURA1.PO1.ICYANDTHERATIONA1.EFORGOVERNMENTSUPPORTFORTHEARTSTheculturalpolicyoftheRepublicofKorea,however,focusesonhighlyspecificinterventionsinparticularindustries,whichareselectedforpromotionwithaviewtoincreasingtheirgrowthandexportearnings.Thereisnoassumptionbypolicymakersthatthemarketwillleadtotheefficientordesiredoutcomeswithoutstrongdirectionfromgo