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是的，要取消screen quota 这个很早就听说了，也听说李沧东因此要辞职。
- Q# P7 T" @6 ? {, i) s0 {说李沧东是“变节”的说法也太片面了em22各方的现实考量不同而已！！
* u% K# j$ \- O* S) w, ?如果现在的韩国电影已经足够强大与好莱坞相抗衡，是否可以在更开放的市场竞争中获得更大的利益？
* ^ C% z6 d" ]/ A2 e# \但个人比较担心的是，过于开放的市场会不会使韩国电影的风格趋于好莱坞化？  3 Q0 m8 t! Q1 N
不管怎样，大家的出发点都是希望未来的韩国电影能一路走好。
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2 h) @2 g0 X0 Y. U3 Z参考一下影迷各方的意见：& u& N" J! O! p+ I
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Personally I support maintaining the screen quota as is, and it caught me by surprise that Lee Chang-Dong, the minister of culture and tourism, and a long-time supporter of screen quota system, suddenly announced a possible plan to reduce the screen quota, esp. at a time when artists and entertainers in general are already unhappy about his soon-to-come (involuntary) resignation.
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+ o( Z/ P0 S4 O' M4 }0 E8 O# UI'd like to hear your thoughts on the screen quota in general (whether it's indeed needed or not, ways to improve it, etc.), what might have caused the abrupt change in their attitude, and so forth..& y" O: Q, [5 |+ T) x* z( x
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: |$ u& f1 O6 j8 F6 WJohnJihoonChang ; N7 F0 q3 o* X& U9 z$ y' _# S% S
. P7 M" ]; h- n2 t! @& y I personally feel that although the screen quota is important in protecting a cinema from near-annihilation, once a cinema is strong, it's not necessary to have a strong quota. I'm in favor of a sliding scale quota that will reduce and increase itself as necessary. Right now, since Korean film is so strong, I think it could benefit from some competition.
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> Right now, since Korean film is so strong, I think it could benefit from some competition.
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' l; o. ^3 H$ rRight, as an old Korean saying goes, stagnant water is bound to decay, but this is true only so far as the competition is (reasonably) fair, which I'm not sure will be the case ever. But then again, my knowledge of the film industries is highly limited, and I'm probably just repeating a popular argument of a handful of hard-liners.. H) ?- D' }2 M5 r
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9 P& X# `- _: p2 Y I think getting rid of the screen quota system is a bad, bad move. Delluding people into thinking the reason that it's okay to do so is because Korean films are doing so well is a mistake." |# Y: H: l( m* J8 M
2 L: [' S$ ]" }4 L% N1 a, G. d' _There is a reason why Korea has managed to pull off what is almost an impossibility; beating US films at the box office.
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( r, N8 N7 ^. i% j) W' v6 iYeah, I know someone's gonna jump in say something like, "That was only needed when K-films were just starting out. Now that Korean films actually beat US films at the box office, surely there is no need to keep such restrictions in place."8 v. b8 K, l8 [' I. Q# J
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Now hold on a bit! Before you forum trolls decide to write knee-jerk tirades, and hear me out. The way I see it is this;
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- at first the US films dominated Korean market
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. Q. B3 E/ f3 e9 C/ w- so to protect and foster Korean films the government comes in and sets up the quota.. N) m: t! B9 M6 k! m3 R. c9 U
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- This creates an opportunity for Korean film. There is a demand for film now that won't be met, because that hole was usually filled by US film.# e- t3 I B" Z
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- Demand for hole to be filled results in many films being made.
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- Of course the usual commercial hollywood-rip-offs are made, but due to the need for a lot of film, a lot of film that is both original, and very KOREAN in nature are made and released as well, mixed in with all the commercial films.
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- Sure enough Korean films begins to turn into little Hollywood. Sad. But the upside is that ticket sales are up, and everyone feels bloated and cocky. While stuff like Tube, My Wife is Gangster 4: My Sassy Tutor from Heaven's Garden, My Sassy Girl 5: The Domestic Abuse Years, and Sex is Zero 3 is being cranked out on an assembly line, and being released to gobs of screens, the demand for film continues to rise and so film is needed! Any film will do! And so films like Oasis, Art Museum by the Zoo, Failan, and Green Fish, enjoy this cushion and actually managed to get on to screens.
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7 ^- _5 U! e5 Q0 S+ g- So the US finally bullies Korea into getting rid of the screen quota. Peoples are all like no problem, our films are doing great at the box office! Bring it on, yo!. o2 o+ x( z$ R
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- So the quota goes away...and the competition starts. Korean films do okay at first, they win for a while, holding their own market share, until competition becomes stiffer and stiffer. Korean studios have less money so they take less risks. Movie investors take less risks. So we get My Sassy Girl 13: Yo Biatch!, and films like Christmas in August will never see the light of day.
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- But wait, they promise to protect Art films! Yeah...ok...sure...and Americans are open-minded about trying kimchi! So now with the market filled with nothing bout My Zero Tutor: R U Ready? Everyone goes on patting themselves on the back and feeling good about themselves, while any film makers worth a salt in Korea move to another country.
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- Sure Korean films can compete (at least for a little they will be able to),but think about what they need to do to compete.
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* ?1 c) r4 W( m0 c* a6 p1 {5 I; KYes, I know, I'm sliding down the slippery slope, but whatever, it's just my 2 cents.
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Heh, I think I'd like to see that one.
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From first signs, I find it very encouraging that more support is being offered for art/experimental films. I read this as inclusive of not just the Euro-arthouse style filmmakers but also and more importantly the modernist and avant-garde practitioners who find it tough to get a release anywhere. My hope is that rather than caving in on the screen quota issue the Ministry negotiates a reduction in exchange for much increased support programme funds.
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0 n. n+ F D/ C% f+ P; U[ Last edited by 阿韩 on 2004-6-25 at 01:52 AM ] |
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发表于 2004-6-24 11:36
发表于 2004-6-25 00:31