{"id":2206605,"date":"2024-09-26T17:57:23","date_gmt":"2024-09-26T08:57:23","guid":{"rendered":"https:\/\/koreapro.org\/?p=2206605"},"modified":"2024-09-27T16:55:37","modified_gmt":"2024-09-27T07:55:37","slug":"south-koreas-independent-theaters-face-extinction-amid-multiplex-dominance","status":"publish","type":"post","link":"https:\/\/koreapro.org\/2024\/09\/south-koreas-independent-theaters-face-extinction-amid-multiplex-dominance\/","title":{"rendered":"South Korea\u2019s independent theaters face extinction amid multiplex dominance"},"content":{"rendered":"

After 66 years, the historic Daehan Cinema in Seoul\u2019s Chungmuro district is set to close at the end of September, a development that some fear could sound a death knell for South Korea\u2019s independent theaters.<\/span><\/p>\n

Founded in 1958, Daehan Cinema was the first windowless movie theater in South Korea, screening foreign blockbusters like <\/span>Ben Hur<\/span><\/i> and serving as a film mecca until the emergence of multiplex cinemas.<\/span><\/p>\n

Now, the theater has become a symbol of not only bygone times but of the mounting challenges facing independent cinema in a country where corporate-owned multiplexes like CJ CGV, Lotte Cinema and Megabox have come to dominate the market.<\/span><\/p>\n

And while some argue that smaller theaters are relics best left to the past, defenders argue that their disappearance will culturally impoverish South Korea\u2019s broader film industry, calling for government support to ensure that the theaters can be bastions of creativity for years to come.<\/span><\/p>\n

MULTIPLEX DOMINANCE<\/b><\/p>\n

South Korea\u2019s film industry has shifted dramatically since the late 1990s. Multiplex chains have become part of a vertically integrated business model in which a handful of corporations control every aspect of the film industry \u2014 production, distribution and exhibition \u2014 consolidating their power and crowding out many independent cinemas.<\/span><\/p>\n

For instance, the Academy Award-winning film <\/span>Parasite<\/span><\/i> was produced by CJ ENM, whose parent company CJ Group also owns CGV multiplex chain.<\/span><\/p>\n

Data from the <\/span>Korean Film Council<\/span><\/a> reveals that CJ CGV, Lotte Cinema and Megabox \u2014 three of South Korea\u2019s largest multiplex chains \u2014 collectively control 97% of the domestic screening market.\u00a0<\/span><\/p>\n

This multiplex-dominated market creates systemic disadvantages for single-screen theaters, compounding their business struggles, industry experts say.\u00a0<\/span><\/p>\n

\u201cSingle-screen theaters without corporate backing start at a disadvantage from the outset, particularly in distribution. They struggle to attract audiences, which inevitably deepens their financial difficulties,\u201d the film director Jeong Seong-woo told <\/span>Korea Pro<\/span><\/i>.<\/span><\/p>\n

Jeong, also the CEO of the independent Cinema MM in the southwestern city of Mokpo, expressed concern over the three companies\u2019 overwhelming control of the market.<\/span><\/p>\n

\u201cThese conglomerates, by controlling production, distribution, and their own theaters, limit opportunities for many films to be screened,\u201d Jeong said.<\/span><\/p>\n

Market concentration has already led to the closure of iconic single-screen theaters like Kukdo, Scala and Seoul Theater, with Piccadilly Theater in central Seoul only surviving due to its acquisition by CJ CGV in 2007.<\/span><\/p>\n

The current market structure is markedly different from Daehan Cinema\u2019s heyday. When the cinema opened in 1958, it was Asia\u2019s largest single-screen theater, defining Korean cinema culture for decades.<\/span><\/p>\n

Industry experts warn that this corporate dominance threatens to limit the options available to South Korean filmgoers.<\/span><\/p>\n

\u201cThe situation, where corporations control the entire film process, has led to a lack of diversity among theaters,\u201d Kim Heon-sik, a pop culture critic, told <\/span>Korea Pro<\/span><\/i>.<\/span><\/p>\n

Jeong added that the industry risks shrinking, with independent and arthouse films relegated to film festivals.<\/span><\/p>\n

Attempts to legislate against this imbalance have so far failed. A <\/span>2016 proposal<\/span><\/a> to limit corporate control over screening and distribution activities stalled in the National Assembly, and no comparable measures have followed.<\/span><\/p>\n

While some lament the loss of independent cinemas, <\/span>others<\/span><\/a> within the film industry have argued these theaters might have survived had they pursued innovative strategies.<\/span><\/p>\n

Critics cite successful niche theaters abroad, suggesting that Daehan and Seoul Cinema could have thrived by embracing unique concepts, such as emphasizing their cultural history, rather than competing directly with multiplexes.<\/span><\/p>\n

\"\"

An empty cinema | Image: Tima Miroshnichenko via Pexels<\/em><\/p><\/div>\n

MODERN CULTURAL HERITAGE<\/b><\/p>\n

As Daehan Cinema prepares to close, its demise heralds a loss of cultural diversity, community spaces and shared experiences that have defined generations of South Koreans, according to Kim and Jeong.<\/span><\/p>\n

\u201cThe challenge lies in finding ways to preserve this rich heritage while adapting to the realities of a changing market,\u201d Jeong said.<\/span><\/p>\n

Kim argued that there\u2019s a need for South Koreans to \u201cstart viewing independent single-screen and arthouse theaters as part of our modern cultural heritage,\u201d stating that this would lead to better support from both corporations and the government.<\/span><\/p>\n

Jeong stressed that independent and arthouse theaters serve broader cultural roles by fostering unique spaces for community and cultural exchange.<\/span><\/p>\n

\u201cThese theaters offer more than just film screenings. They are spaces for community and cultural exchange. They allow audiences to engage with films as active participants, not just as passive viewers,\u201d he explained.<\/span><\/p>\n

Jeong added that this approach could enable such theaters to survive by continuously offering cultural experiences for their audiences.<\/span><\/p>\n

Kim noted that independent theaters contribute to local culture and economies, not just as historical landmarks but as vibrant community hubs.<\/span><\/p>\n

\u201cPeople would gather there not just to watch movies but also to socialize, browse nearby bookstores and dine at local restaurants, boosting local economies,\u201d he said.<\/span><\/p>\n

\"\"

From left: a poster for Gwangju Cinema’s film festival, the entrance to Gwangju Cinema in 2009 | Images: Gwangju Cinema, Wikimedia Commons (CC BY-SA 3.0<\/a>)<\/em><\/p><\/div>\n

CORPORATE AND GOVERNMENT ROLES<\/b><\/p>\n

Experts have proposed various policy measures to tackle the challenges faced by single-screen and arthouse cinemas.<\/span><\/p>\n

Kim highlighted examples from <\/span>France<\/span><\/a> and the <\/span>U.K.<\/span><\/a>, where government support allows independent cinemas to coexist with multiplex chains.<\/span><\/p>\n

\u201cIn France, regulations ensure that small theaters and multiplexes screen blockbusters and independent films equally, so that moviegoers do not flock only to multiplexes,\u201d he explained.<\/span><\/p>\n

Won Seung-hwan, director of the independent cinema Indiespace in Seoul\u2019s Mapo District, similarly stressed the need for government policies that enable independent theaters to compete fairly, even if they operate under <\/span>consignment arrangements<\/span><\/a> in which multiplexes sell tickets to screenings at smaller theaters.<\/span><\/p>\n

Jeong also proposed revitalizing smaller regional theaters through increased government support, which could create a network of independent cinemas showcasing diverse films beyond the corporate multiplex system.<\/span><\/p>\n

Kim suggested a more radical approach: legislation that would break up the vertically integrated film business so corporate studios can\u2019t control film exhibition.<\/span><\/p>\n

The <\/span>Arirang Cine Center<\/span><\/a> in Seoul\u2019s Seongbuk district offers a successful example of government-supported cinema. It receives partial funding from the local government, allowing it to keep ticket prices affordable while offering a diverse film selection.<\/span><\/p>\n

However, the future of other historic theaters remains uncertain. <\/span>Ae-gwan Theater<\/span><\/a>, South Korea\u2019s first cinema, faces closure, and <\/span>Gwangju Theater<\/span><\/a>, the second oldest, is also struggling financially.<\/span><\/p>\n

In 2022, the city of Wonju purchased the Akademi Theater with preservation plans, but a <\/span>change<\/span><\/a> in local government leadership led to its demolition.<\/span><\/p>\n

\u201cI\u2019m not suggesting we try to save every single-screen theater, but we could focus on a few and create pilot projects,\u201d Kim said, adding that successful examples could inspire broader efforts to revive independent cinemas.<\/span><\/p>\n

\u201cAt the end of the day, this is not something that independent cinemas can do by themselves. They need government support,\u201d Jeong said.<\/span><\/p>\n

Edited by John Lee<\/span><\/i><\/p>\n

Business & Economy<\/span><\/a>Culture & Society<\/span><\/a><\/div>","protected":false},"excerpt":{"rendered":"

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