by New Korean films plummet due to COVID-19.
The success of Japanese animated films in South Korea stems from the ongoing slump in the Korean film industry since the COVID-19 pandemic. Only around 20 commercial Korean films (those with a production budget of over 3 billion won) will be released this year, half the number released before the pandemic, when more than 40 were released per year.
Korean cinemas, which are severely lacking new releases, are seeking ways to survive by showing re-releases of hit films, concert films of popular musicians, and Japanese animated films. Japanese anime in particular is typically watched multiple times by dedicated core fans (nth viewing), so the industry consensus is that “at least it won’t be a loss.”
Just as major distribution companies handle Japanese anime,
Another critical point is that the distributors of the three Japanese anime mentioned above are major distributors: CJ ENM (Demon Slayer: Kimetsu no Yaiba), Sony Pictures (Chainsaw Man), and MEGABOX Chuo (Jujutsu Kaisen). Previously, except for works by internationally popular directors Hayao Miyazaki and Makoto Shinkai, theatrical versions of Japanese TV anime were handled by small- to medium-sized distributors specializing in anime.
However, with a shortage of new Korean films, major distributors are entering the race one after another. This means the potential for box-office success is much higher, as their networks and public relations capabilities are incomparable to those of small- and medium-sized distributors.
“Young people have completely different tastes,” and “we have to control them.”
In his signature column, film critic Oh Dong-jin warns about the Korean film industry, which is being dominated by the boom in Japanese anime: “Theater districts are seeing a succession of ‘mutant entertainment shows.’ For example, there’s an anime called ‘Chainsaw Man: Reze.’ Apparently, a chainsaw pops out of the main character’s head, which is how he gets the name ‘Chainsaw Man.’ This fantasy is currently attracting 2.3 million young Korean audiences.
This isn’t because there aren’t any movies to watch, but because the tastes of young audiences have completely deviated from those of previous generations. Even events in Korea featuring unfamiliar voice actors from animations attract young people. Suppose theaters are filled with Japanese anime, live broadcasts of Lim Young-woong’s (author’s note: Korean enka singer) concerts, and professional baseball games. In that case, there’s a good chance Korea’s theater districts will transform into entirely different areas mutated spaces. This is a signal that must be controlled.” (Gyeonggi Shinmun, October 24th column, “Chainsaw Man: Reze: The Movie Takes Number One?”)
