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영어

This paper has some premi ses on the relati on between the new co-production mode in East-Asia and neo-liberalistic globalization. The co-production mode in 21st century in the region was designed to deal with increasing globalization and has been revitalized during recent accelerated neo-liberal globalization. It can be said that this co-production mode is a kind of regional countermovement to Hol lywood-centered film industrial globalization. By examining traffic of co-production films and TV dramas in the region of Asia, this paper ultimately wants to grasp the nature of cultural change caused from economic globalization. This paper aims to search for socio-cultural contexts of choice of Asian co-production, and to explain how and within which cultural specificities do Korean audiences receive those Asian co-production films and TV-dramas. Lots of producers in Korea thought it has become increasingly difficult for national markets to support the cost of feature film and television drama production. And Handicaps in each country s film industry in Asia have been pushing some film producers to try to co-produce with the neighboring countries. They seem to want to gain huge profits from not only their domestic market of Korean market but also foreign markets of whole Asian market. Co-produced films invested by two or more countries must have two or more markets may be able to give producers big money. Now, it is known that able producers are more important than talented directors in order to make huge money. And to make big money, specialists and capitals and good settings and good landscapes are needed from varied countries. Production is proceeding by international division of labor. These natures are alike in some of characters of neo-liberal economic system. By analysing , , , among Asian co-production films and , among Asian co-production TV-dramas and analysing netizens reviews of them and in-depth interview with 8 persons from in 10s to 40s, this paper found that Korean audiences with desire to enjoy transnational images do not feel free to nationalistic view, territory-centeredness sentiment, and cold-war culture, etc. Lots of evidences could be understood as trans-nationalistic receptions. But this paper argues it is not right to see those receptions as undergoing a complete change from nationalistic view. Korean audiences would stir up nationalism against China or Japan without hesitation whenever some national tension between the two countries was broken out. Some of audiences who considered a socialist state of China as communism received some Asian co-production films and TV-dramas with cold-war perspectives. The reason they were negative about , the story about a Chinese soldier, was just because it had some scenes including the Korean War.