Seoul Village Season XV

At long last we managed to escape from 2020.

We're certainly not out of the woods yet: the beast is still striking all over the world, our economies have yet to fully experience 'long covid', and vaccination will take much longer than it should (particularly in Korea, where hubris led to an embarrassing failure to secure doses before the second half of 2021).

Beyond this mother of all crises, here's what I liked and didn't like in 2020, what to expect from 2021.

 

A positive cultural leader, a pro yet fun soft power... the new Korean cool!

Korean culture claimed mainstream recognition in 2020. Of course "Gisaengchung - BONG Joon-ho's existenchial Parasite" scored a perfect grand slam, of course BTS dynamited the charts, but Korean series surfed the wave far beyond the usual Korean dramas, and Foreign media started paying more attention to different beats, from indie music to trot to pansori. I just loved to see Leenalchi succeed at home as well as overseas; that's the Korea I love, and these guys brought priceless freshness and fun when they were most needed.

Respect is what this world needs to better heal, and Korean citizens showed the world how caring for each other and respecting the common good was the way to overcome together. Even Korean American Rep. Andy Kim contributed to this positive image when he humbly cleaned up the US Capitol rotunda after the riots. That's the spirit.

Korea acted as a cultural leader also by innovating in the management and the treatment of the pandemic. The country realized unprecedented breakthroughs in research and development, not just, as usual, at the product level, but at the platform level as well, including in medical fields. 

This is not just about a K-pop fad anymore. Korea proved it could be at the same time super-pro, and super-cool... just like SON Heung-min!

 

The Dark Side of the Moon

2020 should have marked MOON Jae-in's triumph, with the ruling party's landslide victory at the elections, surfing on a brilliant success against the first wave of coronavirus... but his handling of three key issues durably tarnished his legacy.  Actually the very same issues I spotted two years ago (see "Moon Landing - The Cheong Wa Dae Curse"):

- Economy: dogmatism over pragmatism, that's certainly not the way to think in this millennium, particularly when small businesses struggle to survive. This pandemic only constituted a second wave after reforms that already claimed a lot of victims among the weakest ones. And what to say of the real estate mess? The ayatollah in charge of the reforms even wrote a book explaining that the aim of the game was precisely to hurt the little guys, because studies show that when the middle class benefits from the market, they tend to vote more conservative... Simply put, this government deliberately betrayed the very ones he pledged to defend.

- North Korea: now the government doesn't even try to pretend anymore. Protecting the KIM Jong-un regime matters more than defending human rights, defectors who criticize him have become the enemy, and KIM Yo-jong all but dictates the laws (see "KIM Yo-jong Crash Landing On You"). Human Rights Watch and other international bodies have denounced this moral failure, but that's not even the worst that has happened last year.

- Justice: if MOON Jae-in's approval rates are nosediving, that's because his administration has betrayed the spirit of 2016, the democratic values they were supposed to herald, and yes, even the memory of ROH Moo-hyun. Now international media are starting to look at MOON through less rose-colored glasses, and even some hardcore stans find that they went too far. Because when it comes to undermining justice and separation of powers, this administration has out-trumped Donald TRUMP,  CHO Kuk and CHOO Mi-ae have out-williambarred William BARR, and the ruling party has out-GOPed the Republicans. The only person who stands on their path is the incorruptible Eliot NESS MOON Jae-in himself named to lead the prosecution reform. YOON Suk-yeol (YOON Seok-youl) refused to turn a blind eye on the corruption within Cheong Wa Dae and the ruling party, and decided to defend democracy and the Constitution instead of his party. By harassing him and his teams in the most outrageous ways even by trumpian standards, these thugs managed to turn a selfless liberal into a hero even for conservatives. YOON is now leading in the polls for the 2022 presidential election, but like Robert MUELLER, he's more interested in defending the integrity of justice and the soul of the nation than in a political career. 

What does 2021 have in store?

The race for 2022 starts this year, with key mayoral elections in Seoul and Busan. The ruling party should easily keep the control of the capital city, but its leaders lost a lot of credit at the national level (see above) as well as at the local level (between the lack of transparency in the controversial Sejong-daero project and the scandals surrounding PARK Won-soon suicide - see "Mayor Park to ground control"). 

After the moral collapse of the right and left wings, Korea seems ripe for a centrist, uniting figure, but no one emerges there. Because the ruling party betrayed its own values, there's an opportunity at the center right, and OH Se-hoon hasn't given up his grand national ambitions. He proposed AHN Cheol-soo to join the People Power Party and run for Seoul mayor in 2021, which would clear the way for OH in 2022, and for AHN in 2027. To the left, the future could belong to people like GEUM Tae-seop, a moderate who left the ruling party because he felt it lost its moral compass. Yet at this stage, no one is as popular as YOON. 

We will see which welcome pack KIM Jong-un prepared for Joe BIDEN, how long Yoshihide SUGA survives on top (anyway, whoever succeeds him, without or "With Yoshihide Suga, Nippon Kaigi remains in charge of Japan politics"), what kind of pressure China intends to exert on South Korea... 

We will of course keep an eye on the evolution of Seoul's cityscape, the 3rd Seoul Biennale of Architecture and Urbanism, the impact of Sejong-daero revamping. 

And I might have a surprise or two in the fiction department. Thank you again, dear readers, for downloading my collection of short stories, 'Seoul VillageS', from all over the world. Your kind feedback brightened this dark year.

I wish us all a better year 2021, full of health and love. And if this year of the cow brings us another roaring tiger, let's not lose hope and let's not forget the power of laughter.

Seoul Village 2021
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PS - ICYMI, the manual to 2020:

Parasite:

Stay safe and follow the instructions:

1) #stayhome while your government takes care of things: pic.twitter.com/baLsCGMMYl

— Stephane MOT (@stephanemot) March 20, 2020

2) keep informed by following trustable sources of information: pic.twitter.com/t2M30eMhZp

— Stephane MOT (@stephanemot) March 20, 2020

3) but remember to keep your distances and follow basic hygiene tips: pic.twitter.com/cgkShhrkE2

— Stephane MOT (@stephanemot) March 20, 2020

4) #WashYourHands and clap everyday to thank exhausted #health workhorses: pic.twitter.com/rIWjYg5SO4

— Stephane MOT (@stephanemot) March 20, 2020

Gisaengchung - BONG Joon-ho's existenchial Parasite

BONG Joon-ho's 'Gisaengchung' ('Parasite' / '기생충') is perfectly written, filmed, and played. At times a bit too much, but only because BONG happens to be a great author, a great filmmaker, and a great director.

Before getting to that, let's push a couple of things out of our way: first, I won't give away any spoilers, and second, this is more a dark comedy than a tragicomedy. Not a new genre (very distant echoes of IM Sang-soo's 'The Housemaid', or KIM Ki-duk's '3 iron'), but a brilliant Korean movie with a universal reach. BONG proves he remains a league of his own with a unique, very theatrical object (think Feydeau meet 'Arsenic and old lace')*, and before all else, the heck of a cinematographic masterpiece. 

Is this truly BONG's chef d'oeuvre? his best movie ever? It doesn't supersede 'Memories of Murder' as my favorite Korean movie yet, but certainly made it already to my top 3**. I can't tell for sure: unlike for 'Snowpiercer' or even 'The Host', I had such great expectations for this one (even before it got the Palme d'Or in Cannes), and there's so much to take in at once.

Even as you watch Gisaengchung, you feel this narrative and visual overload. BONG forces you to realize that the gimchi will somehow hit the fan, to want to know, among all possible worst case scenarios, which one will prevail, and to enjoy the ever darker humor first permeating, then overflowing this over-the-top gem.

That may be it: an overpowering trainwreck feeling that makes the movie work, and at the same time makes you want to slow down to appreciate each and every detail. You're enjoying it too much, to the point you can't enjoy it enough. And as soon as the movie is over, you want to watch it ten more times. Lucky Darcy Paquet, who watched it seven times to deliver the English subtitles***... and cursed Darcy, who had to keep everything all to himself until the movie was released!

So kudos to BONG Joon-ho the author, for keeping us under his spell, and for delivering another powerful social satire, But also kudos to BONG Joon-ho the filmmaker, for implanting haunting images and other sensorial stimulations inside our brains (best rain pandemonium ever, best olfactory effects ever). And kudos to BONG Joon-ho the director for getting the best from an outstanding cast.

CHOI Woo-sik (Ki-woo), SONG Kang-ho (Ki-taek), JANG Hye-jin (Chung-sook), PARK So-dam (Ki-jung)

Of course, BONG can thank SONG once more: his favorite actor SONG Kang-ho proved again that he was a genius at playing dumb in a thousand different and creative ways. 

But what to say of the women in this movie! Yes, the versatile LEE Jung-eun steals the show, like the multifaceted Miranda Richardson did in Spider, but did she really need that Ri Chun-hee impersonation, or was that just BONG's special bonus for Western audiences? And if the confident PARK So-dam and the insecure CHO Yeo-jeong were absolutely perfect in their roles, I was totally bluffed by JANG Hye-jin's performance as Gisaengchung's unsung cornerstone, between this stinky basement full of life, and that cold, bright mansion. Too early to tell if the young JUNG Ziso is the new Doona BAE.

If the male side looks weaker, that's because the roles demand it, starting with CHOI Woo-sik's or JUNG Hyeon-jun's. Yet LEE Sun-kyun portrayed a credible Chairman PARK.

Gisaengchung poster

The French poster for Cannes Festival

So go watch this brilliant epic. And let yourself get infected.

Seoul Village 2019
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* so theatrical, they even invited PARK Jeong-ja's voice to the trailer ** even if I can't kick anyone out of my "Seoul Village Movies"
*** again, Darcy, you had a Deborah Smith / Han Kang moment with this one!

BONUS: 

'Unexpected director's cut: Agnes Varda welcomes you to KU Cinematheque' (20190531 - https://twitter.com/theseoulvillage/status/1134429833058897921)

Saving Korean cinema... and even Chaebolplex

Evolution doesn’t teach us that only the fittest survive, but that even the strongest can’t survive when diversity is threatened, and that inbreeding is by no means a way out of extinction.

Last September, I stated my worries about cultural content diversity in Korea, particularly in a movie / broadcasting ecosystem dominated by chaebols ("Korean culture or Hallyu, Cultural contents or discontents"). And this morning, Korea JoongAng Daily published a focus on how 'Conglomerates direct Korea's film industry', which ended in similar calls for quotas supporting independent movies.

Data from the Korean Film Council (KOFIC) confirm the trend, the Korean market has become an oligopoly that all but banned independent movies from their multiplexes:

• In September 2012, the Big 4 claimed 93.1% of the distribution: 28.3% for Showbox Mediaplex (Orion Corporation), 24.2% for CJ EM, 21.0% for Next Entertainment World (the Twilight saga), and 19.6% for Lotte Entertainment
• Between 2008 and 2011, the top 3 CGV (CJ EM), Lotte Cinema, and Megabox (Jcontentree - JoongAng Group) raised their share of screenings from 62.2% to 86.7%. 
• 2 years ago, multiplexes devoted between 6.5 and 9% of their screenings to indie movies, and now they don't let them even reach 2% (of course never on prime time or prime locations):

Even KIM Ki-duk's award winning "Pieta" didn't get the exposure it deserved in multiplexes, in spite of excellent occupancy rates. And the victims are not only local indie productions: even international critic's darlings can’t make it there.

Yes, 2012 is a record year for Korean movies, and for the first time, the 100 M views barrier has been smashed. And of course the winners are well marketed, deja-vu blockbusters: 'The Thieves' (Showbox), 'Masquerade' (CJ EM), and 'A Werewolf Boy' (CJ EM), respectively a Gangnam Style 'Ocean's Eleven', a Joseon-times 'Dave', and a more elaborate 'Nell'-'Wolf' bibim. Needless to say, the government is not considering any regulation to tame what I call "chaebolplexes": the "Pieta Law" mentioned in the article sounds like charity for art-house theaters, and absolution for big complexes.

The big fishes think they're protecting themselves. As if an indie success could threaten them, or alter the overpowering image they project to their audiences. I'm using the plural, because these guys target not only movie goers, but also the developers who consider a multiplex to sex up their latest project (build a multiplex and they will come - Who? Why, the S.P.A.s and family restaurants those investors couldn't convince to sign for their mall, of course).

Make no mistake: the recent boom in multiplexes is not just about conglomerates claiming the lion's share of Korean cinema after noticing the first national blockbusters at the turn of the millenium - you're in Korea, it's the real estate, stupid!

And just like with coffee franchises*, you don't always consider supply & demand issues before opening shop. Except the entry ticket is much higher, and operators have to know a thing or two about yield management. And they'd better know where they're going when they multiply the number of big screens at the very moment movies get available anywhere anywhen anytime.

At the "hardware" level, they want to make the moviegoer's experience special: even your latest home entertainment system can't propose you a full "4D theater" experience, and even your comfiest la-z-boy can't beat the new "lounge" reclining seats (better than first class travel, twice the normal fee). But Starbucks learned the hard way that offering free wifi everywhere didn't mean anything if they forgot their core business: offering good coffee.
 
Korean operators are the only ones in the World who seem to believe the multiplex concept can survive without content diversity. It's exactly like operating a hypermarket and referencing only 4-5 items: that's not only bad business and terrible risk management, but also the very negation of your customer and your own future. You can't at the same build more theaters and reject diversity, get viewers addicted to blockbusters and expect high occupancy rates in the future. You think you're driving generations to your theaters, but you're killing the golden goose. You think you're building a market, but you're milking it at all levels without any vision whatsoever. And if you think you can guarantee diversity all by yourself, even by betting on your closed circle of fellow majors, you should know it simply doesn't work, particularly not in this country.
 
The inability to operate even partially open systems is a key factor of failure for Korean chaebols. Look how SK Telecom lost its global leadership in innovation in the early naughties when it sticked to a doomed ambition of controling the whole value chain instead of evolving and nurturing a more open and sustainable ecosystem. Look how Samsung lags behind in soft power and value aggregation beyond in-house solutions. Look how the Korean government struggled when it came to bringing together conglomerates and small players in the innovation process that could guarantee Korea some competitivity in the future. Look at those innovative start-ups wilt as soon as they're absorbed by organizations unfit for the new millenium. And look at those absurd award nights, when, every year, each major TV channel distributes glitzy prizes among its own drama shows in a parody of competition.

So yes, regulations are needed, and yes, truly independent movies (i.e. not from your usual masqueraded subsidiary or outsourced slave) must be given fair chances in multiplexes, including on prime time and in prime locations. Just like broadcasters must nurture the indie ecosystem. It will spur creativity and competitivity across the whole industry, help it source new talents, reach new viewers, and anticipate evolutions. Majors cannot achieve sustainability and international competitivity without it.

But the real change must also come from the chaebol themselves, and I'm sure that, in each of their top strategy teams, you can find at least one person who's perfectly aware of the fact that they can't postpone the cultural revolution anymore.

The first one to open up will be the true leader.

 
Seoul Village 2012
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* see "Brews and bruises" followed by "500 m, 80%, 100% urban crappuccino"

Korean culture or Hallyu, Cultural contents or discontents

Ahead of last week, I planned to write one post on each one of these 3 events...

• Tuesday, September 11: the 7th Seoul International Media Art Biennale* starts at SeMA Seosomun and across the city under a screamingjayhawkinsian theme: "Spell on you":

 

• Thursday, September 13: DMC 10th Anniversary International Symposium and 2012 Seoul DMC Culture Open. Korea's main multimedia and entertainment cluster will succeed once all majors have joined Sangam, provided they accept to share value with truly independent start-ups**:

• Friday, September 14: conference at the Institut Francais de Coree, "Strategies de globalisation du cinéma coréen et Hallyu" ("Globalization Strategies for Korean cinema and Hallyu") with French thinker Guy Sorman and Korean movie brain KIM Dong-ho (actor slash producer slash founding director of PIFF/BIFF/Busan International Film Festival), moderated by RYU Jin-lyong, Director of the Hallyu Knowledge Center at the Catholic University of Korea. Ever the optimistic "free-marketer", Sorman believes in the power of individual creators. Kim knows better and understands what it takes to support culture. Note that France is the third market for Korean movies after Korea and the US, and the place where the first major K-pop concert in Europe was organized (SM Entertainment with the support of the Korean government). Of course, everybody agreed on the irrelevance of "Hallyu" / "Korean wave" as an umbrella brand for Korean culture, and on these evidences:
  - you don't want to watch a Korean movie because it's Korean, you want to watch good movies
  - culture and nationalism never mix well

... not to mention this fourth event, which I felt no need to write about...

• Saturday, September 8: KIM Ki-duk's "Pieta" wins Golden Lion for Best Film at la Mostra in Venice. The first time a Korean movie ever wins a top prize in a major festival. Park Chan-wook's "Oldboy" would have won the Palme d'Or in Cannes in 2004, had there been no US elections later that year: Michael Moore's "Fahrenheit 9/11" clearly received a push to balance Bush-Cheney's Weapons of Mass Disinformation.

... or of course this summer's hit, about to break the 200M view barrier on YouTube:

• Psy's horsing around satire of "Gangnam Style" (as far as I'm concerned, it's still the bicycle, and Stephane Jongno Style - 스테판 종로 스타일!):

I eventually decided to serve all 5 at once, "bibim" (bibim pop culture?). Not because I'm a lazy fella, but because together, they tell a lot about the strengths and weaknesses of Korean culture today.

The point? Korean culture is very much alive and kicking, thank you, and there are many reasons to believe that the future is even brighter, but the ecosystem is not totally sound, and it could become even stronger, more creative, and more sustainable.

Before moving to Korea from France, 21 years ago, I had a tough time reaching for Korean culture (or rather "Korean civilization", as Sorman is right to emphasize). I had the chance, as a kid, to own a book of traditional Korean tales, and as a student, to have met a few Koreans and expats who'd lived there. But even in Paris, home to "Langues O" or Musee Guimet, you had to dig deep. Heck. Even after landing in Seoul I felt frustrated: the first day, if it weren't for that courtesy visit to the office downtown, I wouldn't have caught a glimpse of Namdaemun in that - already back then - sea of high rise buildings.

Now, Seoul's cultural assets are much more highlighted. And now that the whole world is one click away, a Psy can Gangnamstylize tens of millions of people within a few days. Koreanity / Koreanhood / Koreanness / Koreanitude reaches beyond Korean nationals and expats, and millions declare unconditional love for the country even without having set foot in the Peninsula. But precisely, because the whole world is one click away, the fad can pass, the wave recede, or even turn into something negative: if a wavelet can be cute, a tsunami is rarely welcome.

Consider this: the Korean movie industry partly owes its boom to Hollywood. As a reaction to US lobbies who pushed harder into the country, it received a support similar to that of cinema in France, and it's no wonder both countries boast strong market shares for local productions. So much for the "invisible hand" of the market, Mr Sorman.

Anyway, Korea is progressively emerging. If not as a consistent global player, at least by sending more often visible signals in most cultural fields. To name a few:

- Language. At the same time the most important cultural asset for any people, and the most challenging task for Korea (even Koreans have a tough time mastering this beautiful tool). The trend is obviously very positive, with a boom in the number of people studying the language. But to go even further, pedagogy must improve, and it will necessarily as the base grows. And it is essential to reach beyond the minority target likely to get involved and learn the language. For that, Korea can leverage key assets, and must raise the awareness of Hangeul, a linguistic wonder, and Tripitaka Koreana, also a technological marvel... preferably a more subtle way than the Hunminjeongeum Society way***. Korean vocabulary must also permeate other languages, as naturally and peacefully as possible. Such popular culture as music is a good entry point (the "style" in Psy's title is relevant for the song but a missed opportunity for that purpose), but why not start by harmonizing the spelling of popular foods? Which brings us to the second domain...

- Food. I won't repeat my usual pitch**** on this vital dimension of Korean culture, arguably its best chance of shining durably. The globalization of Korean cuisine is now clearly identified as a major project, and Korean "brands" are getting more visible (dishes, industrial products, ingredients, restaurant chains...), but the political will doesn't always translate in tangible results. Among the most interesting "quality" trends: the rise of slow food and 'appellations', the invitation of world chefs to discover and adapt Korean cuisine and its ingredients... The future lies in the hands of amateur cooks across the globe, and on millions of palates, far beyond those of connoisseurs. And yes, street foods are as important as the finest dishes.

- Land. Korea is at last becoming a touristic destination, and every year visitors discover new dimensions beyond K-drama hotspots and UNESCO landmarks. From Boryeong Mud Festival to Temple Stay, the whole spectrum is covered. All major international editors have now produced guides, and the literature about the country has boomed everywhere. I can't believe the number of magazines and blogs covering every dimensions of Korea. When I started this excuse for a site, I would never have dreamed to see a blog devoted to Seoul subway station neighborhoods (the excellent Seoul SubUrban - seoulsuburban.com), or so many sites gathering so many great pictures of Seoul's fascinating alleyways. And like everywhere else, the democratisation of SNS, imaging tools, location based services enabled an always on process of mapping, recording, tracking - another reason why, for instance, I don't need to post about restaurants anymore. 20 years ago it was almost impossible to find pictures of old Seoul, and now the city does a terrific job at compiling its archives (see "Seoul Through Pictures 6", "Seoul from above : 40 years of archives soon available"...). I'm also glad to see Seoul city's official Facebook page move progressively away from the K-pop bubble and propose series of photos showing all different aspects of the city, even less glamour ones.

- Music. Saying that The Noraebang Nation loves music is an euphemism. But it's significant to notice the differences between "artisans" and "creators": on one hand world class musicians, directors, and voices, on the other few composers or writers really well known abroad. Personally, my favorite Korean song is LEE Mi-ja's "동백아가씨" ("Dongbaek agassi"), a trot that would sound corny as hell if it weren't for LEE's haunting voice. Of course there are great composers and writers, but vibrant democracy activist anthems belong to the past, and if the indie tradition remains, that side of Korean culture is not really well known overseas. Korea is nonetheless becoming a place where important things happen, with a vibrant rock festival scene, and systematic stops for the world tour of top names, from Lady Gaga to Robert Zimmerman (see "Bob Dylan knock knock knockin' on Seoul's door"). Mind if I don't mention K-pop? Actually nowadays, many K-pop hits are composed by non-Koreans - unlike Seo Taeji's "Nan Arayo!", a hit that crossed the frontiers long before the nip and tuck factory (SM Entertainment, YG Entertainment, JYP Entertainment) started mass producing dancing clones for export markets. Anyone can make it on YouTube and the success of PSY is a refreshing break, but this virtual horse rider does belong to a major stable.

 

- Performing arts. Definitely a strong point for Korea, particularly when you mix dance and voice. From Korean drums to Nanta, from mask dances and shamanic 'gut' to b-boy, from Pansori to K-pop... Yes, that's where I put K-pop, a popular kind of performing art where dance and surgically enhanced masks matter more than music itself*****. Even RAIN is better known for his looks and dance than for his songs, which he writes himself. Note that if the country can boast a strong tradition of festivals nationwide, it has not yet become a place where international artists create major works. It shouldn't be long though, and not just for a question of infrastructure (see previous episodes of the Seoul opera drama).

- Plastic arts. Forty years later, PAIK Nam-june remains the country's only artist with a global star status, and he was not recognized home until the dictature he fled fell. But many creators deserve critical acclaim, Seoul and Korea are a place to be (see "SeMA to block blockbusters"), and there's a lot of money around. Of course, as is too often the case with contemporary art worldwide, outsiders have a tough time getting their chance. But the ecosystem seems very strong, and all bases are covered: young talents, galleries, museums, patrons, exhibitions... And creatively speaking, the tradition-modernity continuum is perfectly working. 

- Cinema. Hallyuwood has never been stronger, and its future headquarters, the DMC, is not even fully operational. BIFF contributes to fuel the influence of an emerging Asian champion. Popular filmmakers and actors are getting international recognition (Park Chan-wook, Bong Joon-ho, Choi Min-sik, Song Kang-ho, Jeon Do-yeon...), even if it's a total outsider who caught the spotlights this year: KIM Ki-duk has always been rejected by Korea and recognized by Europe. Korean auteurs regularly receive critical acclaim in international festivals, and there seems to be room for everybody. Yet the system is dominated by very strong players who sometimes deprive creators from their authors' rights, because they're simply used to take all the value, not to share and nurture it.

- Literature. With SHIN Kyung-sook's "Please Look After Mom", Korea now holds an international bestseller. A silver lining in a country plagued by an education system that destroys creativity and all apetite for reading "non-useful" stuff (see "Seoul village libraries"). Among the interesting trends: more visibility for national treasures, a renewed interest for major XXth century authors...

- Media, Broadcasting. Korean media are not yet recognized as major global players, but media concentration has considerably increased under LEE's presidency, and traditional Korean broadcasters have gained visibility overseas, in particular with Arirang and KBS World, sending regular waves to the most distant shores. Among potential global powerhouses, CJ Group can leverage a full control of the value chain at home (production, distribution, broadcasting,...). The quality of contents is an issue: K-dramas are more consumer goods than timeless masterpieces; good exports in the short term, liabilities for the image if nothing comes next. The Land of Netizens has brought major innovations in the online media landscape (ie Ohmynews, Cyworld), but always struggled when it came to build truly international platforms.

- I could go on for years. Among other dimensions:
. Sports. The successes at the Olympic Games, the World Cup, or golf tournaments are fine, but Taekwondo played a very important role in the diffusion of the culture. I remember my surprise the first time I heard all the Korean words my teenage nefew learned in France along with the sport. Sports was also the medium that accelerated a minor yet significant cultural change: Western newscasters were criticized for not pronouncing Korean names correctly, and the right order prevailed at the turn of the millenium.
. Games are another interesting entry point. Unfortunately, the popular MMORPG invented in Korea, Lineage, has no reference to Korean culture whatsoever.
. Intangible assets. Korea protects its Great Masters, but a little bit too much. The cult of "wonjo" ("original") is a drag for the evolution to new levels, and the old masters are idolized to the point they have no contact with younger talents nor time to teach and pass the knowledge to the next generations. Han-dicrafts are han-dicapped.
. Architecture. The ondol and hanok revival also reaches beyond borders, and old techniques are successfully adapted to modern architecture. All the big names of architecture have produced one or several buildings in Seoul, but Korean architects are not famous overseas. Except for some interior design and a few really creative people who were allowed to toy around on a smaller scale, no wonder if you consider most landmarks.
. ...

Of course, all this is very subjective, selective, reductive, but the trends seem clear: globalization is under way, but more could be done to boost diversity and creativity, and to develop pedagogy / awareness / opportunities for the public.

Among the things I'd like to see:
- a reform of education (see previous posts)
- more sub-titles for Korean movies: Seoul is multiplying foreigner-friendly theaters and that's great, but with IPTV all Korean movies should be available with this feature. I'd watch ten times more Korean movies if this simple revolution happened.
- more context in the promotion of Korean contents, an historic perspective, keys for neophytes to visualize the cultural continuum
- guarantees for authors and creators: scenarists should be credited and keep their authors' rights, artists should get the fair payment for their work, not just feel grateful for being exposed.
- and most urgently, a licensing system that specifies the duties of broadcasters for cultural diversity. If you zap channels on your TV, all movie channels air the same kind of popular action movies and the pedagogy cannot be done, the public is not even aware of the existence of other contents. And it should not only a matter of what but a matter of who: major broadcasters should be prevented from using solely their own catalogue, and even finance independent creation as is the case in France. There's no other way of guaranteeing actual cultural diversity, and of course a sound and balanced ecosystem.
- ...

Seoul Village 2012
Welcome to our Korean Errlines! Follow Seoul Village on Facebook and Twitter

* a.k.a. Mediacity Seoul (20120911-1104 - see mediacityseoul.kr)
** see among other posts related to the DMC: "Seoul Digital Media City Tour" (July 2010), "DMC aims at Tinseltown - welcome to Hallyuwood !" (February 2011), "DMC at full throttle - Songdo from Sim City to Sin City ?" (April 2011)... Note that SMG wants the buzz to move to the other side of the Han River, towards its Magok District project in Gangseo-gu.
*** see "Hangeul exports to Indonesia subject to dumping?"
**** see "Korean Cuisine Aiming At World's Top Five. China is watching"
***** and a non-sustainable business as it is - "K-popping bubbles"

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UPDATED 20120918 (typos!!! and links)