As the paradigm of global economy in the 21st century is shifted to knowledge‐based industry, knowledge and culture are emerging rapidly as the leading contents of economy. As the globalization of economic activities exerts its influence on every corner of social and cultural activities, ‘the industrialization of culture’ is being accelerated throughout the world, which integrates advanced technologies and cultural assets generated from long historical experiences and knowledge accumulation. In particular, the advance of information and communication technologies is working as an important catalyst promoting the ‘century of culture’ that emphasizes the spread of cultural exchange among countries and the quality of human life. That is, the 21st century is the century of culture and at the same time the age of regionalization.
Such a high value‐added, knowledge‐intensive and environment‐friendly cultural industry is a future‐oriented industry of the new century and is expected to play the role of a central axis for sustainable economic growth and social development. What is more, the cultural industry is perceived to be a major growth engine industry that enhances the recognition of the corresponding country, has great economic and cultural ripple effects, and creates high added values.
In order to establish the rapidly expanding cultural industry as the central axis for the development of culture and art, economic growth, and social development, the Korean government has set it as the goal of its policies to be one of the top five powers of cultural industry in the world through the ‘C‐Korea 2010’ strategy.
It was from its reform and opening in 1979 that China began to take interest in the cultural industry. Through around 20 years’ period of internalization, the Chinese cultural industry has emerged into the spotlight in the new century of culture, putting the new concept integrating culture, science, technology and economy. Armed with its status in the national stage as the 2nd largest economy, the largest country in foreign exchange reserve, the largest exporter, and the greatest consumer market with a population of 1.3 billion, China is rising also as a global leader in soft power. With this background, it is extremely important to analyze and understand the current state of cultural industry clusters in Korea and China, and it is becoming an increasingly important task to build strategies for cooperation in this age of globalization. Particularly because recent local cultural industry clusters promoted ambitiously by Korea and China are making great contributions to the development of localities through stimulating investment and consumption and creating added values and jobs within the localities, each local government is making efforts competitively to promote cultural industry clusters.
This study purposed to analyze Chinese cultural industry clusters that are going through the boom of the cultural industry as well as rapid change and growth. For this purpose, we examined Korean and Chinese policies for promoting cultural industry clusters, the past history and current state of local cultural industry clusters, and strategies and policies for their future development. Through these works, we expect to clarify the definition of cultural industry clusters in Korea and China, which are still at the growing stage, and to propose development strategies for the successful future development of Korean and Chinese cultural industry clusters and cooperation strategies for generating synergy in the environment of global economy based on the analysis of how cultural industry clusters are influencing local economy.
In this study, first, we reviewed the theoretical background of Korean and Chinese cultural industry clusters, namely, the concept of culture, the characteristics of the cultural industry, the concept of cluster, theories and types of cluster, and successful cases of cultural industry clusters throughout the world in order to get ground information for understanding local cultural industry clusters in Korea and China. Second, this study examined Korean and Chinese policies to support local cultural industry clusters, the current state of promotion, representative cases, and future tasks and directions of improvement. Third, this study discussed strategies for the development of Korean and Chinese local cultural industry clusters. Fourth, we studied the background of exchange and cooperation and methods to promote mutual exchange and cooperation between Korean and Chinese companies and local governments in order to see the possibility of exchange and cooperation between the Korean and Chinese cultural industries, and lastly, made plans to activate the exchange and cooperation of cultural industry clusters between Korean and Chinese local governments.
Chapter I Introduction described the background, objectives, methods and contents of this study.
Chapter II reviewed the theoretical background of cultural industry clusters in Korea and China including the concept and characteristics of cultural industry and the concept, theories and types of cluster.
Chapter III examined the current state of Korean cultural industry clusters and development strategies, focusing on the past history of Korea local cultural industry clusters and support policies. Moreover, this chapter presented representative local self‐governing bodies’ policies to promote cultural industry clusters as well as represent cities involved in cultural industry clusters. The last section of Chapter III discussed the future tasks of Korean cultural industry clusters.
Chapter IV studied the current state of Chinese cultural industry clusters and their development strategies, focusing on three representative cases and their future tasks.
Chapter V discussed strategies for the development of cultural industry clusters in Korea and China and how to promote exchange and cooperation between the two countries. Section 1 analyzed successful strategies of cultural industry clusters throughout the world, and Section 2 examined the development strategies of cultural industry clusters in Korea and China. Section 3 inquired into how to promote the exchange and cooperation of cultural industry clusters between Korea and China. In this section, firstly, cooperation between Korean and Chinese companies and exchange and cooperation between Korean and Chinese local governments were discussed, and secondly, how to activate the cooperation of cultural industry clusters between the Korean and Chinese local governments was discussed.
Chapter IV drew conclusions from the results of previous chapters and presented implications.
This study defined cultural industry through analyzing its concept and examined the characteristics of the cultural industry from a macroscopic aspect, and then analyzed directions for the development of the cultural industry in Korea and China and cultural industry clusters, which are platforms for the development, from a microscopic aspect. Based on the results, in addition, we suggested opinions on the future direction of the Korean and Chinese cultural industry.
In China, the Ministry of Culture and Tourism ratified the National East Bay Game Industry Promotion Cluster in 2004, and only in a few years from that, clusters related the cultural industry are enjoying their golden days. The central government is ratifying national‐scale clusters, and local governments and major cities are also ratifying and establishing related clusters. In this way, government bodies’ competition over clusters is spreading throughout the country.
The Korean government is promoting local cultural industries as a part of its balanced development strategies by supporting cultural industry complexes and cultural industry promotion facilities based on the “Framework Act on the Promotion of Cultural Industries” enacted in February 1999.
However, China has several problems including the absence of specific laws and policies for the future of cultural industry clusters, difficulty in financing for companies, insufficient protection of intellectual property rights, lack of high‐quality technicians and creative human resources, and local governments’ indiscreet development of clusters. Korea should also solve problems such as the concentration of creative cultural human resources in the capital area resulting from the central government’s one‐sided top‐down promotion policies, and failure to consider the characteristics of the cultural industry by designating manufacturing‐centered urban high‐tech industry complexes.
As to strategies for developing cultural industry clusters in Korea and China, first, it is necessary to dig out cultural resources and materials related to tourist attractions through integration with various areas and to connect with local cultural tourism in order to activate local cultural industries utilizing story‐telling. Second, because the cultural industry has high economic ripple effects, it should create economic added‐values. In addition, it should generate window effects such as animations and movies by utilizing OSMU. Third, cultural industry clusters should be of creative type.
From the results of analyzing the competitiveness of Korean and Chinese cultural industries, it was concluded that it is desirable for Korea and China to supplement each others’ key competences and create synergy for the growth of each industry as well as for the expansion of their roles in the global market.
For mutual cooperation between Korean and Chinese cultural industries, first of all, cooperation between the two countries is keenly required. In order to develop a more globalized industry through combining the cultural diversities of the two countries, they should derive synergy through inter‐state cooperation based on the Oriental culture shared by Korea and China.
Second, because the cultural industry of Korea and China has huge ripple effects on regional economy, the two countries should produce economic effects through their cultural industries.
In this sense, the roles of companies in cultural industry clusters are important. If support for their growth is expanded and collaboration and cooperation systems are established in all areas including planning, production and investment with China that is similar in sentiment and close geographically, both Korea and China will gain an advantage over the U.S. and European countries.
Third, Korea and China should expand their cooperation from practical areas. That is, the local governments of the two countries should activate cultural exchange events as well as personnel exchange and networks.
Fourth, the two countries should develop cultural archetypes jointly and activate local cultural industry clusters by utilizing story‐telling. The key to the development of cultural contents is establishing as many cultural archetypes as possible. Because the contents of such cultural archetypes should be developed from various cultural traditions such as myths, legends, novels and fantasies, it is necessary to lay the base of stories using the rich cultural resources of Korea and China. Furthermore, the development of impressive cultural products through assigning story‐telling to local traditional cultures may play a great role in spreading local indigenous cultural heritages not only in each country but also throughout the world. Fifth, it is necessary to activate the tourist industry as well as Korean and Chinese cultural industry clusters using the images and characteristics of each locality by linking local cultural industry clusters and cultural tourism.

21세기 세계경제의 패러다임이 지식기반 산업으로 전환되면서 지식과 문화가 주도하는 콘텐츠로 급속하게 변화되는 시점에 와 있다. 경제활동의 세계화가 사회 문화 활동영역까지 급속히 파급되면서 오랜 역사적 경험과 지식축적의 산물인 문화적 자산을 지식과 첨단기술로 융합하는 ‘문화의 산업화’가 세계적으로 가속화되는 추세이다. 특히 정보통신기술의 발달은 국가 간 문화교류의 확산과 더불어 인간의 삶의 질을 강조하는 ‘문화의 세기’를 전개시키는 중요한 촉진제로 작용하고 있다. 즉 21세기는 문화의 세기이며 지방화의 시대인 것이다.
이러한 고부가가치, 지식집약형, 환경친화형의 문화산업은 21세기 미래형 산업으로 국가의 지속적인 경제성장과 사회적 발전을 위한 중요한 중심축이 될 것으로 기대되고 있다. 또한 문화산업은 全세계적으로 각국이 자국의 인지도를 높이고 경제 문화적 파급효과가 큰 고부가가치를 창출하는 주요 성장 동력산업으로 인식되고 있다.
한국정부는 급속하게 성장하는 문화산업이 문화예술의 발전과 경제성장, 그리고 사회 발전의 중심축으로 자리 잡을 수 있도록 ‘ C-Korea 2010' 전략을 통해 세계 문화산업 5대 강국 실현을 정책목표로 설정하고 있다.
중국이 문화산업을 인식한 것은 1979년 개혁개방 이후이며 20여 년간 내재화 기간을 거쳐서 중국의 문화산업은 문화 과학 기술 경제를 일체화 시키는 개념으로 새로운 문화의 세기에 합당한 총아로 등장하였으며, 소프트파워에서도 강국으로 부상하고 있다. 이러한 배경에서 한국과 중국의 문화산업 클러스터를 정확히 파악하고 분석하는 일이 매우 중요하며 더 나아가서 글로벌시대에 협력방안을 모색하는 것이 점점 더 큰 과제로 부각되고 있다. 특히, 최근 한중 양국이 야심차게 추진하고 있는 지역 문화산업클러스터가 지역 내 투자와 소비를 촉진하고 부가가치와 고용을 창출하며 지역발전에 크게 기여하고 있기 때문에 각 지방정부 에서는 앞 다퉈서 문화산업 클러스터 육성에 많은 노력을 기울이고 있다.
아직 성장단계에 있는 한국과 중국의 문화산업 클러스터를 어떻게 정의 할 것이며, 지역경제에 어떤 영향을 미치고 있는지 등의 현황 분석을 하였다. 이를 통해 향후 한국과 중국의 문화산업 클러스터가 성공적으로 발전할 수 있는 발전전략과 세계경제 환경에서 시너지 효과를 낼 수 있는 협력방안을 제시하였다.
제1장에서는 서론부분으로 논문의 연구배경 및 목적과 연구방법과 내용에 대하여 서술하였다.
제2장에서는 문화산업클러스터의 개념과 관련 이론체계로서 문화산업의 개념과 특성, 클러스터의 개념과 이론 그리고 문화산업 클러스터의 개념과 특성 등을 살펴보았다.
제3장에서는 한국의 문화산업 클러스터의 발전 현황과 전략 등을 살펴보았는데 한국 지역별 문화산업 클러스터의 발전 역사와 지원정책 등을 중심으로 살펴보았다. 또한 대표적 지방자치단체의 문화산업클러스터 추진정책과 대표적 도시 사례를 알아보았다. 제3장 마지막 절에서는 한국 문화산업 클러스터의 향후과제를 알아보았다.
제4장에서는 중국의 문화산업 클러스터 발전 현황과 전략을 살펴보았는데 3대 지역별 문화산업 클러스터 대표 사례와 향후 과제를 살펴보았다.
제5장에서는 한중 문화산업클러스터 발전전략 및 교류 협력방안을 살펴보았는데 제1절에서 세계문화산업 클러스터 성공전략을 분석하였고 제2절에서 한중 문화산업 클러스터 발전전략을 살펴보았다. 제3절에서 한중 문화산업클러스터 교류 협력방안을 살펴보았는데 우선 한중 기업 간 협력방안과 그리고 한중 지방정부간 교류협력방안을 연구하였다.
제6장은 결론에서 지금까지 연구하고 살펴본 내용을 가지고 도출된 결론과 시사점을 정리하였다.
본 논문은 거시적 측면에서 문화산업의 개념분석을 통해 그 정의를 내리고, 문화산업이 갖는 특징을 살펴보았으며, 미시적인 측면으로는 한중 양국의 문화산업의 발전방향과 그 발전 플랫폼인 문화산업 클러스터에 대해 집중적으로 분석하였고, 이를 통해 현재 한국과 중국이 나아가야 할 미래 방향에 대한 의견을 제시하였다.
한중 문화산업 클러스터 발전전략으로 21세기는 창의, 소프트, 문화를 키워드로 하는 창조경제의 시대이기 때문에 특히 창조형 문화산업 클러스터가 되어야한다는 점을 강조 하였다. 또한 한중 양국의 핵심역량 보완과 시너지 창출을 통해 각국 산업의 성장과 함께 세계시장에서의 역할을 확대할 수 있는 방향으로 추진하는 것이 바람직하다는 결론을 얻었다.
한･중 양국의 문화산업 상호 협력방안을 보면 먼저 한중 양국의 협력이 필요하다. 한중 양국의 문화적인 다양성을 접목하여 보다 글로벌화 된 산업으로 발전시키기 위해서는 한중 양국이 공유하고 있는 동양의 문화적 기반을 국가간 협력을 통해 시너지를 도출할 수 있어야 한다.