Korea announced that it had reached a bilateral free trade agreement (FTA) with China in November 2014. This agreement signifies the strong interest of the Korean government and companies in entering the domestic market of China, including its cultural sectors.
This study considers cultural industries as an important sector in the cooperation between Korea and China. A comparative analysis was conducted on the development of local cultural industries of China in three environments: industry, market, and policy. Based on the results from the comparative analysis, the study provides suggestions for furthering Korea–China cooperation in the cultural sectors.
The primary findings of this study can be summarized as follows: In Chapter 2, we analyze the overall environment of the Chinese cultural sectors. The cultural industries of China have maintained a steady growth of 20% CAGR over 10 years since 2004; its cultural market was the third-largest in the world in 2012. The Chinese government has fostered its cultural industries since the beginning of the 10th Five-Year Plan period (2001–2005) to strengthen the competitiveness of these industries in preparation for joining the World Trade Organization in 2001. Korea–China cooperation in the cultural sectors has been active, particularly in the export of online games and co-production of films and animation. Trade and investment are expected to further increase once the Korea–China FTA is signed and various entry barriers are eliminated.
In addition, we compare the current situation of the Chinese cultural sectors by region and suggest regional groups in the cultural sectors. Beijing, Shanghai, and Zhejiang comprise the first-tier group, having well-endowed industry, market, and policy environments. The second-tier group includes locations in the east coast with relatively better infrastructure, such as Jiangsu, Fujian, and Guangdong Provinces. Tianjin and Guizhou are noted for their similarities in display of strong willingness to provide policy support for cultural industries.
In Chapter 3, we compare the regional environments by sub-sectors. In the broadcasting sector, Beijing, Shanghai, Zhejiang, and Shandong as well as Hunan, Sichuan, and Shaanxi are selected as ideal locations because these regions possess the requisite environments in industry, market, and policy for development of the broadcasting sector. In the film sector, Beijing, Shanghai, and Zhejiang are the major regions. While three locations all have excellent environments, most resources are concentrated in Beijing, which implies that development of the Chinese film sector will be centered on Beijing for the foreseeable future. In the online game sector, the availability of communication infrastructure greatly affects development in the sector. Thus, industry and market are developed mainly in Beijing, Shanghai, and Guangdong where the communication infrastructure is well-established. In the animation sector, Shanghai represents the best location in terms of industry, market, and policy environments together, followed by Beijing, Jiangsu, Zhejiang, Hunan, Guangdong, and Fujian.
In Chapter 4, we propose a cooperative direction and cooperation strategies in detail by region-sector matching, on the basis of previous analytical results and suggest four groups for 31 provinces/municipal cities, namely, first-, second-, third, and fourth-tier groups. The first-tier group (i.e., Beijing and Shanghai) has cultural sectors with an excellent infrastructure and competitive sub-sectors, such as broadcasting, film, online game, and animation. The second-tier group (i.e., Fujian and Sichuan) has a small number of competitive sub-sectors; at the same time, the local governments are active in fostering cultural industries. The third-tier group (i.e., Henan and Tianjin) requires a medium-term approach compared with the previous two groups. Finally, the fourth-tier group (i.e., Jilin and Neimenggu) requires a long-term approach through continuous monitoring.
In addition, we argue that the characteristics of each sub-sector should be carefully considered for the local-level cooperation in cultural sectors. In the film and online game sectors, a small number of major players are dominating the market or industry of the country. In such situation, regional grouping is not very useful. Strengthening cooperation with major regions, such as Beijing and Shanghai, seems to be a better strategy. In contrast, in the broadcasting and animation sectors, the development of industry or market is partly determined by the support from the local government or relevant companies. Therefore, facilitating cooperation with a number of regions is recommended for the broadcasting and animation sectors.
Finally, we propose that collaboration in the cultural sector between Korea and China should thoroughly examine the locational context involving industry, market, and policy environments. Depending upon the level of strength of industry, market, and policy environment, a customized strategy can be formulated in a manner to induce maximum benefits from the local environment. On the basis of the preceding analytical results, we suggest the cooperation strategy of the general cultural sector (Shanghai and Henan), broadcasting sector (Beijing, Zhejiang, Shandong, and Sichuan), film sector (Beijing and Zhejiang), online game sector (Sichuan), and animation sector (Guangdong and Hubei).
In Chapter 5, we discuss the strategies for the Korean government and companies to expand cooperation with China in the cultural sectors. First, regarding cultural services, the Korean government should adopt a gradual approach in the course of post-FTA negotiations with China. In other words, the Korean government can utilize the reservations list similar to that in the Korea–U.S. FTA for future liberalization in the cultural services, include the “Protocol on Cultural Cooperation” in the FTA, and discuss the opening of the online game sector with the Chinese government. Moreover, the Korean government should build a foundation for cooperation with China, enhance support for Korean companies entering the Chinese market, and improve the existing system related to the cultural industry.
With regard to the Korean companies, we suggest that they should strengthen their planning capability and creativity, diversify business partners and products, and carve out a niche market. In addition, localization (i.e., establishing a subsidiary or an R&D center in China) can be adopted as a long-term strategy.

서언

국문요약

제1장 서론
1. 연구 배경과 목적
가. 연구 배경
나. 연구의 필요성과 목적
2. 선행연구와의 차별성
3. 연구의 범위와 수행방법
가. 연구 범위
나. 연구 방법 및 수행과정

제2장 중국 문화콘텐츠 전반의 지역별 현황
1. 개황
가. 산업 및 시장
나. 주요 정책
다. 한국과의 교류
2. 지역별 현황
가. 산업
나. 시장
다. 정책
라. 종합비교

제3장 중국 문화콘텐츠 주요 분야별 지역 현황
1. 방송
가. 개황
나. 지역별 현황
2. 영화
가. 개황
나. 지역별 현황
3. 게임
가. 개황
나. 지역별 현황
4. 애니메이션
가. 개황
나. 지역별 현황

제4장 중국의 지역‧분야별 협력방안
1. 지역‧분야의 분석 결과
가. 분석 방법
나. 분석 결과
2. 협력 방향
가. 그룹별 협력 방향
나. 분야별 협력 방향
다. 유형별 협력 방향
3. 지역‧분야별 협력방안
가. 문화콘텐츠
나. 방송
다. 영화
라. 게임
마. 애니메이션

제5장 결론
1. 요약
2. 한‧중 협력 활성화를 위한 제언
가. 정부정책 관련 제언
나. 기업전략 관련 제언
3. 연구의 한계

참고문헌

부록

Executive Summary