dominance of foreign cinema in Japan

[Mark Nornes]

To add a little to Aaron's point about the complexity of Hollywood's 
hegemony over Japanese cinema, I thought I'd post the following text 
from Darcy Paquet's Korean Cinema Newsletter 
(http://www.koreanfilm.org; http://www.koreanfilm.org/darcy),  which 
just came out today. It gives you a glimpse at the power exerted over 
film industries whenever Hollywood gets its crow bar out. The Japanese 
situation was certainly every bit as complex as what is currently going 
on in Korea, a messy battle between Korean and American 
filmmakers---and their governments, of course---for several decades.

Markus


___________________________________________
Korea's Screen Quota system, which obliges theaters to screen local 
films
for roughly 40% of the year, is facing its strongest challenge ever due 
to
negotiations over a bilateral investment treaty (BIT) between South 
Korea
and the United States.  Rumors are spreading that the Screen Quota 
system is
the only remaining issue of contention between the two countries, with 
the
U.S. insisting on the abolition or severe weakening of the system 
before any
agreement is signed.  The BIT is expected to bring $3.2 billion dollars 
of
foreign direct investment to South Korea, and is also a precursor to
negotiations over a free trade agreement.

In recent weeks, officials from Korea's Ministry of Finance & Economy 
have
spoken out publicly against the system, arguing that the film industry's
current strength now makes the Quota System unnecessary.  Filmmakers, 
who
predict that any abolition of the system could lead to a spiraling 
decline
in the industry, responded with an emergency press conference, arguing 
that
cinema as an artform and an expression of national culture should be
excluded from trade negotiations.  The U.S. has long argued that cinema
should be open to free trade as a commercial product, resulting in 
similar
disputes with other countries wishing to protect their local industry 
such
as Australia, Canada, France, and others.

South Korea's new president Roh Moo-hyun is said to be in a considerable
bind over the issue as his presidential campaign was given its strongest
support by a grassroots organization led by actor Moon Sung-keun.  Moon 
is a
prominent Screen Quota activist who gave up his post as chairman of the
Coalition for Cultural Diversity in Moving Images to support Roh's 
campaign.
Roh's new Minister of Culture and Tourism Lee Chang-dong (see story 
below)
has also threatened to quit his post if any changes occur in the quota
system.  Meanwhile, veteran director Im Kwon-taek (CHIHWASEON) has 
announced
he will give up filmmaking if the Screen Quota system is compromised.

For the moment the president has remained non-committal on the issue,
allowing for various factions in the government to argue their case 
before
any decision is made.  Public support for the quota system appears to be
weakening, however, given the film industry's remarkable strength.

The Screen Quota stipulates that theaters must screen Korean films for
126-146 days per year, depending on the total number of releases.  
Theaters
may reduce the required number by up to 20 days by screening Korean 
films
during the lucrative summer and winter vacation seasons.