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Kwangsuck Kim(s) Redux in Musicals and the Economics of Retro

Seungyoun Choi 1

1고려대학교

Accredited

ABSTRACT

This paper looks into the competition of Kwangsuck Kim’s three musicals and uses methodology to connect the fierce competition with aesthetic styles in order to highlight how Kwangsuck Kim’s songs were individually appropriated into the three musicals, which have been collectively used in Korean musicals in 2013. The three musicals have separately paid for Kwangsuck Kim’s the larger-than-life value in accordance with the production scale and business strategies, and recontextualized the value to suit the ideas of the musicals. The ideas that drove the three musicals were: “The universality of Kwangsuck Kim’s songs”(Wind), “The everlasting friendship between Kwangsuck Kim and his friends”(Those Days), “The romanticism during Kwangsuck Kim’s era’(December), and these ideas were materialized in a common narrative. That is, the main characters are discontent with the present day which summons the past, and then they welcome in a brand new reality. The aesthetic style of each musical was the key element through which such narratives were thoroughly individualized. And the decisive factor to determining the differences among the aesthetic styles laid in the scope of purchasing the copyright contents of Kwangsuck Kim. In other words, the production company of December NEW monopolizing Kwangsuck Kim’s materials from the right of publicity to Kim’s unreleased songs had a decisive effect on purchasing the copyrights of Wind and Those Days. Therefore, Those Days purchased the right to consent to make musical arrangements from the original writers of the songs, then only used the songs purchased excluding the singer’s original songs. While the Wind used the songs by purchasing the copyrights and the arbitrary arranged songs which contained the maximum conformity from the originals. While Those Days and December have transformed the songs’ structures and placement through an active arrangement, Wind’s pursuit to approach Kwangsuck Kim’s original songs for as long as possible in the form of an acoustic concert was an inevitable result already determined with the copyright purchasing power.

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