he Korean government’s support of the cultural industry was note- worthy. President Kim Dae Jung, who called himself the ‘President of Culture’ when he inaugurated himself as president in 1998, established the Basic Law for the Cultural Industry Promotion in 1999 by allocating a total budget of $148.5 million to this project (Choe, 1999). In this favourable environment, a number of international film festivals have sprouted up in Korea, such as Pusan International Film Festival, which is now considered