製造創意：韓國文化內容產業政策的起源與發展

Abstract

在經濟全球化與文化全球化的推波助瀾之下，文化創意產業的高附加價值性與高就業創造能力，廣受世界各國政府所重視。透過「韓流」的興起，世人開始對韓國如何能在短短十餘年間，在電影、連續劇、K-pop、電玩遊戲……等各項文創領域上創造出豐碩成果，進而使韓國文化受到全世界矚目之發展，感到十分好奇。事實上在民主轉型之前，韓國並不存在「文化產業」的概念，而伴隨內部民主化的發展與外在全球化的壓力，韓國對文化的理解則有著從「文化＝藝術」到「文化＝產業」再到「文化＝內容」的轉變過程。透過歷史發展的時序模式來分析可發現，自金泳三總統開始，歷任韓國政府越來越重視與強調文化產業之重要性，而韓國型文創產業政策的對象則從「文化」轉變成「文化內容」再轉變成「內容」，並有著越來越偏重其經濟效應的路徑依循性格。不過，若檢視韓國文化內容產業政策的變化與產業發展之過程，我們可以發現兩者之間其實有著不同的發展路徑與邏輯。以中小企業為主的韓國文創產業廠商，對於政府所提供的各項政策支援體制，不但利用率不佳，效能感亦顯得十分低落。而不論業者的實際需求為何，韓國政府仍持續地以過往發展型國家的追趕與發展邏輯，在選定特定的戰略產業之後，不斷地提出中長期產業發展計畫與振興政策。即便當代的文創產業以數位內容與服務業為主，研究也指出硬體建設對文創產業的發展助益有限，但在韓國政府實際的政策預算分配之上，「硬體基礎建設」之項目始終居於壓倒性的多數。這顯示，韓國各期政府在制定其文化內容產業政策時的思考方式，與過往「發展年代」以製造業為中心的發展主義思維並無二致。

With the trend of economic and cultural globalization, governments all around the world have put more emphasis on the cultural creative industry in view of its high value-added and large-scale job creating capability. People are curious about the reason South Korea has reached such fruitful results in the cultural creative industries, such as movies, drama, K-pop, online games, etc. Within a decade and further made Korean culture come into the spotlight worldwide through “Korean wave”. In fact, the concept of cultural industry did not exist before the democratic transition in South Korea; nevertheless, with the force of democratization inside of the country accompanied by the wave of globalization from the outside, the perception of the term 'culture' has transformed from 'culture equals to art' to 'culture equals to industry' and further becomes 'culture equals to content'. To analyze this phenomenon under the patterns of timing and sequences, we can find that the Korean government has placed more and more emphasis on the importance of cultural industry since President Kim Young-sam’s administration and the Korean-style cultural creative industry policy, with the tendency of path dependence stressing more and more on the economic benefits, has turned from ‘culture’ to ‘cultural content’ and finally, the ‘content.’ However, if we look into the process, we can see different routes and logics between its policy changing and industry development. On the one hand, the cultural and creative industry companies in South Korea, mainly small business owners, are lack of willingness to respond to governmental policies and aids due to its inefficiency. The government of South Korea still follows the developmental state model to pick strategic industries and continue to implement the mid/long-term development plans and strategies regardless of actual needs of the companies. Despite the cultural creative industry mainly counted on digital content and services and research also indicates that hardware construction contributes little help to this industry, the ‘hardware infrastructure’ is still the center of the government’s budget allocation. In other words, the Korean government still maintains the manufacturing industry centered thinking learnt in the ‘developing era’ when making cultural content industry policies.