South Korea, a small country with a population of only 50 million, was once the darling of the film market, but it has ushered in huge challenges after the epidemic. I was deeply immersed in this article, and I felt the crisis of the Korean film industry, as if I had experienced the waves of a movie myself.
After the outbreak of the epidemic, the recovery of the Korean film market has become unusually slow. Looking at the data of the Korea Film Promotion Council, although the box office in 2023 will increase by 9%, it will only return to the level of 60% in 2019, which is embarrassing. What is even more shocking is that the large-scale box office fraud incident in August last year, the collusion between theaters and distributors, led to the inflated box office revenue of at least 323 films, and 2.67 million movie tickets were forged, which makes people feel sorry for the credibility of Korean films.
In this crisis-ridden moment, South Korea** has adopted a series of policies to soothe market anxiety. But judging from the "symptoms" of the Korean film and television industry in the past few years, it is still unknown whether these policies can be used to treat the problem. The crowding of theaters, the audience's consumption habits, brain drain, and the mutation of creative concepts, these series of problems are intertwined, and people can't help but worry about the future of Korean film and television.
After the epidemic, the audience's enthusiasm for cinemas has decreased significantly, and various reasons have led to the loss of audiences. The rise of streaming ** has become a strong competitor of theaters, and the choice of online streaming of films has become a shortcut for many filmmakers, which has fundamentally changed the audience's viewing habits. The ticket price of the cinema**, the audience is more inclined to enjoy the rich content of the streaming ** platform at home, which is undoubtedly an impact on the cinema.
The intervention of * seems to provide a solution to a certain extent, but the rise of the stream ** is not only a change in the way of distribution, but also a fundamental change in the audience's demand for cultural products. The audience no longer only pursues movies, but also pulls the audience tightly around them through various cultural products such as TV dramas and variety shows, making people lose the motivation to enter the cinema.
And in the midst of all these changes, South Korea's local film industry seems to be in trouble. The production cost and the decline in the number of moviegoers have made it difficult for many small and medium-sized enterprises to sustain, and resources are gradually tilted to giant companies. The audience's choice is more inclined to flow**, and the film industry is facing a double loss of audience and market, forming a vicious circle.
And at this trying time, the Korean film industry seems to have fallen into an over-reliance on genres. Crime dramas and suspense films have long occupied the film market, and the audience has become resistant to genre routines and began to seek new content. At the same time, Korean dramas have successfully attracted the attention of the audience through the continuous innovation of content with the help of the high investment of the flow of **, which has led to the trend of talents and funds tilting towards Korean dramas.
However, Korean dramas are not without their problems. The communication strategy of streaming ** leads to the abuse of cool drama mode and routine plots, making the audience feel aesthetic fatigue. The production company coaxed **, resulting in a large increase in costs, and the limited capacity of the streaming ** platform made a large number of episodes backlogged, and the production company could not turn over, forming a financial crisis. In the Korean drama market, just like the film market, there is a brain drain and audiences leaving, and everything seems to be stuck in a quagmire from which it cannot extricate itself.
This reminds me of the Hong Kong film market in the 10th century of China. The narrowness of the market and the excessive bubble of the industry, as well as the impact of the free market on foreign giants, made the Hong Kong film industry once in a difficult situation. However, in recent years, Hong Kong films have regained their foothold through the creation of new Hong Kong films, giving people hope. Perhaps, Korean films also need to find a suitable path of innovation and seek new vitality.
As Syngman Rhee, then head of CJ-C** research, put it, "Among the top 20 local films, the proportion of crime dramas has risen from 30% to 55%. "This type of over-reliance may be the root cause of audience fatigue. The Korean film industry needs to be more diversified, explore new creative areas, and explore new story themes to attract the attention of audiences.
What the future of Korean cinema will look like remains to be seen by time. In this time of change and uncertainty, the Korean film industry needs to continue to innovate, adjust its structure, and find a creative direction that suits the needs of the market. Only in this way can we gain a foothold in the fierce market competition and meet a better future.
There are only 50 million people in South Korea. The box office of the movie has been proud of the world. After the epidemic, the box office is not booming, and it is the most difficult among the top ten box offices.
Revitalization Committee Statistical Table, up 9% in 2023. However only recovered in 2019 six components. In August last year, the box office was shocked, 323 films were praised, and 2.67 million tickets were fake.
Korean TV is also trapped, and the drama is in deep trouble. ** Move, revise the tax law to boost confidence. However, the questions are piled up, and the flow ** rushes to the audience.
Parasite squid swimming, box office soaring, what is the crisis? The audience decreased, and the cinema was helpless. Flow**, the audience changes habits. **Assistant, the film industry is in full swing.
After the epidemic, the audience is gone. Stream** competition, ticket prices rise. The audience stays home, and the cinema is hopeless. The industrial crisis and the rush of funds.
In just a few years, South Korea has stood up to the world. What is the cause of the crisis? Hong Kong movies have been in the quagmire. Looking for a new way to start, where is South Korea going?
Genre dependent, audience fatigue. Diversified development, seeking new areas. The crime is suspenseful, and it has long prevailed. The audience doesn't buy, and the market is unbalanced.
With the help of Korean dramas, the flow is **. High investment leads, and the audience stops. Wizards leave, flow ** robbery. Korean TV, changing habits.
Netflix enters, and the hearts of Koreans are popular. The content is rich and the audience stays. The audience was helpless, and the quality of the drama dropped. Korean system, hard to extricate.
Korean dramas lose ground, Netflix fishes. A miracle is made, and the copyright is bought. The routine is limited, and the flow is **. South Korean industry, power cut.
South Korea, like Hong Kong. The market is narrow and the industry is too much. Free City, against the outside. How can the concept of loss be corrected?
Twenty years, Hollywood in. Korean Bureau, change the memory. CJ ENM, American drama boom. Korean system transfer, overseas travel.
The city of South Korea has reached its limit. Flow**, save the people. Hong Kong is looking for new ideas. New port film, hope cause.
Window government, it is difficult to treat the symptoms. Culture rushes, art breaks. The industry is old, and the new is a scholar. Flow**, fighting.
Ancient poems quoted, at the end of the article. A hundred years of art, unique and eternal. It is difficult to pass, and the reader chases. Leave a comment, who solves the doubts?