South Korea's film sector is increasingly leveraging artificial intelligence to reduce production expenses while grappling with diminishing box office revenues. The government has allocated substantial funds to support projects that integrate AI technologies into their processes.
However, some industry voices express concerns that the shift to AI might threaten jobs and diminish the unique essence that has traditionally defined Korean cinema.
Internationally, the popularity of Korean content has surged, with film and television exports soaring from 2019 to 2024. In the past year alone, the nation's audiovisual sector contributed $16.4 billion to the economy, sustaining around 291,100 jobs. Yet, the domestic film industry faces substantial financial hurdles, with box office revenues down by approximately 45% compared to pre-pandemic levels. This decline, exacerbated by the boom in streaming services, has led many production companies to curtail their financial commitments. For instance, the Korean Film Council reported that only 20 films with budgets exceeding 3 billion won (roughly $2.15 million) were produced last year, a stark decline from the annual output of 40 to 50 films before the pandemic.
Hyun-jung Baek, who heads content innovation at CJ ENM, the largest entertainment and media company in South Korea, notes a marked increase in production costs. “Although K-content has experienced extensive global growth, the financial return isn't significant,” she points out.
In the face of these challenges, numerous production firms, including CJ ENM, are adopting AI to help mitigate expenses and streamline production timelines. Proponents believe that the use of AI could enhance South Korea's competitiveness, yet critics fear it might lead to job losses and dilute the distinct flavor of Korean filmmaking.
Seoul film critic Darcy Paquet explains that opinions on AI's role in the industry vary widely. While the technology has the potential to improve labor efficiency, it could also compromise quality by allowing for shortcuts that might undermine the craftsmanship of filmmaking.
South Korea has been incorporating AI into content creation over the past few years, with entirely AI-generated shorts like “It’s Me, Moon-hee,” and webtoons like “Cat Biggie” showcasing its potential. In a significant leap, the country unveiled “Run to the West,” marketed as South Korea’s inaugural AI-driven feature film, which utilized advanced AI to create intricate visual elements like mythical beings and striking effects. According to Hansl Kwon, the AI director and CEO of the studio behind the film, AI implementation was both quicker and more cost-effective compared to traditional CGI methods.
Moreover, CJ ENM recently released “The House,” a 60-minute horror film produced in collaboration with Google Cloud Korea, for only 500 million won (approximately $336,000). Such projects demonstrate how AI can streamline movie-making processes while opening doors to new career opportunities in the film industry.
The South Korean government is actively supporting this technological pivot, recently increasing its AI budget and designating emergency funds for film projects that leverage advanced technologies. Agencies like the Korean Film Council are facilitating AI film showcases, while the Korea Creative Content Agency is investing significantly in AI-driven productions.
This approach contrasts sharply with the cautious stance evident in Hollywood, particularly following the recent Writers Guild and Screen Actors Guild strikes, where the future of AI in filmmaking raised numerous concerns. Seong-Ho Jang, a veteran director, notes that most Hollywood players are wary of AI's role in potentially displacing human talent.
Jang’s own studio, MOFAC, has benefited from AI to enhance production processes efficiently. He emphasizes that while AI can improve productivity, maintaining a creative and collaborative human element remains vital.
Concerns surrounding ethics, bias, and copyright also loom large as the industry navigates AI's integration. Some notable filmmakers, including Park Chan-wook and Bong Joon Ho, have articulated anxieties about AI's impact, fearing it may replace human labor and compromise artistic integrity.
As regulations around copyright and authorship evolve, there are still debates regarding ownership of AI-generated content. Baek speculates that the recognition of credit might shift from individual creators to the corporations behind AI systems.
Critics caution that the increasing reliance on AI could lead to a homogenization of creative outputs, potentially eroding the uniquely human elements that characterize Korean cinema. Despite mixed initial reception, the industry is exploring the value of AI, acknowledging its role as a tool that, if used judiciously, could drive innovation without sacrificing quality.
Ultimately, industry leaders like Baek and Kwon view AI as a valuable adjunct to traditional filmmaking practices, asserting that the technology can elevate storytelling without replacing the fundamentally human aspects that connect audiences to cinema. As South Korea's filmmakers continue to navigate these changes, they aim to harness AI as both an innovative tool and a means of enriching the storytelling experience for viewers.
