차민철

포스트 시네마 시대 부산 영화·영상·미디어 거버넌스의 전환 방향을 연구함

디지털 기술과 미디어 융합에 따른 영화·영상 개념의 확장이 필요함

부산은 풍부한 기반시설에도 인력 유출과 기관 간 연계 부족의 한계가 있음

국내 지역 사례와 프랑스·독일·미국 사례를 비교하여 시사점을 도출함

지역성에 기반한 문화적 가치와 산업적 발전의 조화가 중요함

재매개화된 협력적 하이브리드 거버넌스 모델을 제안함

기존 체제를 해체하기보다 참여 주체의 독립성과 자율성을 유지하는 방향임

경쟁·공존·소통·협조·조정·협업·통합의 단계별 추진전략을 제시함

통합기구와 독립 분과위원회·협의체·공동연구센터 등의 구성을 제안함

디지털 아카이브와 시민사회 오픈 플랫폼을 통한 참여 확대가 필요함

네트워크·메타·플랫폼 거버넌스 요소를 결합하여 공공성과 지속가능성을 확보함

하드웨어 중심에서 소프트웨어와 휴먼웨어 중심의 민관산학연 협력으로 전환할 필요가 있음

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목차

제1장 연구 개요 ········································································································· 1

1. 연구 배경 및 연구 필요성 ··············································································· 1

2. 연구 목적 ········································································································· 4

3. 연구 내용 및 연구 범위 ··················································································· 4

4. 연구 방법 및 연구 추진 전략 ·········································································· 6

제2장 포스트 시네마 패러다임 ················································································ 10

1. 포스트 시네마 개념 및 이론 ·········································································· 10

2. 포스트 시네마 패러다임의 국내외 동향 및 전망 ··········································· 12

3. 포스트 시네마 시대의 영화·영상·미디어 ························································ 15

제3장 거버넌스 개념과 이론 ···················································································· 16

1. 거버넌스의 개념 및 정의 ··············································································· 16

2. 거버넌스 패러다임의 진화 ·············································································· 20

3. 시사점 ············································································································ 32

제4장 영화·영상·미디어 분야 국내외 동향 및 전망 ················································ 33

1. 글로벌 영화·영상·미디어 분야 동향 및 전망 ················································· 33

2. 국내 영화·영상·미디어 분야 동향 및 전망 ···················································· 43

3. 부산 영화·영상·미디어 분야 현황 및 특징 ···················································· 54

4. 시사점 ············································································································ 57

제5장 부산 영화·영상·미디어 거버넌스 현황 및 여건 ············································· 58

1. 2000년대 이후 부산 영화·영상·미디어 정책 ················································· 58

2. 부산 영화·영상·미디어 거버넌스 현황 및 여건 ············································· 60

3. 전문가 자문 의견 ··························································································· 64

4. 시사점 및 개선 방향 ······················································································ 66

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제6장 국내 주요 사례 ······························································································ 68

1. 인천 ················································································································ 68

2. 전라북도·전주 ································································································· 75

3. 충청남도·대전 ································································································· 80

4. 시사점 및 부산의 방향성 ··············································································· 84

제7장 해외 주요 사례 ······························································································ 86

1. 프랑스 클레르몽페랑 ······················································································ 86

2. 독일의 영화·영상·미디어 진흥 전략 ······························································ 90

3. 미국 버추얼 시네마 ························································································ 94

4. 시사점 및 부산의 방향성 ··············································································· 98

제8장 부산 영화·영상·미디어 거버넌스 모델 제안 ················································ 100

1. 거버넌스 구축 배경 및 필요성 ···································································· 100

2. 부산 영화·영상·미디어 거버넌스 한계 및 개선 방향 ·································· 101

3. 재매개화된 협력적 하이브리드 거버넌스 모델 ············································· 102

제9장 결론 및 제언 ······························································································· 110

Abstract ················································································································ 113

참고문헌 ················································································································· 115

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표 목차

<표 3-1> 범위·제도·관점·이해관계에 따른 거버넌스 개념 및 정의들 ·························· 18

<표 3-2> 사회문제 성격·유형에 따른 적절한 거버넌스 양식 ········································ 23

<표 3-3> 상호의존성의 세 가지 유형과 특징 ······························································· 25

<표 3-4> 사회문제 유형 분류 예시 ··············································································· 26

<표 4-1> 세계 콘텐츠시장 규모 및 전망, 2015-2024 ················································ 37

<표 4-2> 국가별 콘텐츠시장 규모 및 전망, 2015-2024 ············································ 39

<표 4-3> 글로벌 영화·영상·미디어 동향 및 전망 ························································· 40

<표 4-4> 2018~2020 국내 콘텐츠 산업 매출액 규모 ················································· 46

<표 4-5> 2018~2020 국내 콘텐츠 산업 수출액 규모 ················································· 47

<표 4-6> 2018~2020 국내 콘텐츠 산업 종사자 규모 ················································· 48

<표 4-7> 국내 지역별 영화·영상·미디어 분야 사업체 수 ············································· 49

<표 4-8> 국내 지역별 영화·영상·미디어 분야 매출 규모 추이 ···································· 50

<표 4-9> 영화·영상·미디어 분야의 ESG 목표 및 실천 방법 ······································· 53

<표 4-10> 부산 영화·영상·미디어 분야 SWOT 분석 및 대응 전략 ···························· 56

<표 5-1> 부산 영화·영상·미디어 거버넌스 주요 주체들 ··············································· 61

<표 8-1> 거버넌스 구축을 위한 단계별 추진 전략 ····················································· 107

<표 8-2> 재매개화된 거버넌스 구성단위 형태 및 특징 ·············································· 108

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그림 목차

<그림 1-1> 연구 흐름도 ·································································································· 9

<그림 2-1> 2020년 이후 OTT 공개 영화들 ································································ 14

<그림 3-1> 현대 서유럽 국가들의 거버넌스 양식의 진화 ············································· 23

<그림 3-2> 협업의 스펙트럼 ························································································· 27

<그림 3-3> 계층제·시장·네트워크 거버넌스 간 갈등 요인 ··········································· 28

<그림 4-1> 세계 콘텐츠시장 규모 및 전망, 2015-2024 ············································ 36

<그림 4-2> 세계 콘텐츠시장 산업별 점유율, 2015 vs 2019p vs 2024 ··················· 38

<그림 4-3> 2019~2021 국내 콘텐츠 산업 매출 규모 추이 ········································ 44

<그림 4-4> 2019~2021 국내 콘텐츠 산업 수출 규모 추이 ········································ 44

<그림 4-5> 2019~2021 국내 콘텐츠 산업 종사자 수 추이 ········································ 45

<그림 4-6> ‘코로나19 극복 콘텐츠산업 혁신전략’ 주요 내용 ······································ 51

<그림 4-7> 부산의 주요 영화·영상·미디어 분야 유관 기관 및 단체 ··························· 54

<그림 7-1> 2018년 기준 독일 영화·영상산업 매출 규모 ············································· 90

<그림 8-1> 재매개화된 협력적 하이브리드 거버넌스 개념도 ······································ 104