南韓的電影配額政策起於1960年代中期,在長達未能發揮功能的三十年之後,卻從全球化論述與解除管制之說日漸興盛的1990年代起,逐漸開始奏效。南韓因此構成了好萊塢壟斷世界電影市場八十餘年來的例外,雖然尚不穩固,但應該已經具有相當的國際意義。本文的焦點集中在1980年代中後期以來的南韓電影業之發展,以電影政策、電影人及電影資本為核心,逐一檢視其演變,並藉此探討,在自由化風潮蔚起的晚近十多年,何以配額政策反而產生作用。在探討的過程裡,作者並儘量同時檢視與南韓並列為發展型國家的台灣,一方面讓南韓與台灣的不同性質,得以凸顯,再方面則反省南韓的成績,是否能夠啓發台灣在內的其他國家。
Screen quota was initially put into force by South Korean government in 1965 but had not been effective until the mid-1990s, during which time an increasing portion of the box office goes to films made by Koreans, the latest figure being 49% achieved in 2001. The success story of this quota policy, moving against the escalating power of rhetoric of liberalisation and globalisation, awaits an explanation. Hence this paper analyses mutual constitutive relationship of film worker, film policy and film capital in South Korea, with a view to providing heuristic experiences to people committed themselves to destabilizing domination of this global Hollywood.