Ë ³ û ï Ý ± Ä ìi부터 영화, 애니메이션, 캐릭터, 게임 등과 같은 다양한...

연구수행기관-(주)스트라베이스

제 출 문

한국콘텐츠진흥원장 귀하

본 보고서를 “2009 해외콘텐츠시장조사(만화)”의 결과보고서로 제출합니다.

2009년 12월 21일

주관 연구 기관 한국콘텐츠진흥원 책임연구원 최 연 철연구 수행 기관 　　　(주)　스트라베이스연구수행책임자 이 상 오 수행연구원 최 수 진 수행연구원 김 동 진 수행연구원 안 병 욱 수행연구원 전 창 의 수행연구원 권 성 미 수행연구원 허 윤 미

요 약 문

1. 제 목: 2009 해외콘텐츠시장조사(만화)

2. 연구의 목적 및 필요성: 최근 콘텐츠산업은 대형 사업자들을 중심으로 점차 대형화되고 세계화 되는 추세를 보이고 있으며 특히 우수한 원작 콘텐츠 확보 경쟁이 날로 치열해지고 있다. 만화는 오래 전부터 영화, 애니메이션, 캐릭터, 게임 등과 같은 다양한 콘텐츠 산업에 활용될 수 있는 원작 콘텐츠로써의 가치를 인정받아 왔다. 그럼에도 불구하고 세계적인 관점에서 만화 시장 규모 및 동향을 체계적으로 정리한 자료는 전무해 세계 주요 만화콘텐츠 시장 및 기업 동향을 체계적으로 정리한 자료의 필요성이 절실히 요구되고 있다.

3. 연구의 내용 및 범위: 이번 조사연구에서는 세계 및 권역별 시장 규모와 성장 추이, 시장 트렌드 및

주요 이슈를 연구조사의 범위로 하고 있다. 만화 산업을 통해 수익을 창출할 수 있는 시장은 크게 ▲출판시장, ▲뉴미디어시장, ▲영상시장, ▲상품화 시장 등으로 구분되는데 이번 연구에서 영상과 상품화 시장은 각각 애니메이션편, 영화편, 캐릭터편에서 별도로 언급하고 있어 시장 조사 범위에서 제외하고 출판만화와 뉴미디어 시장을 주요 조사 대상으로 하였다.

4. 연구수행결과: 이번 연구에서는 각 주요 권역별 만화 시장의 규모와 그 구조 및 특징을 정리하는데 주력하였다. 또 일본, 미국 등 주요 만화 선진 시장은 물로 전 세계 만화 관련 이슈 및 트렌드를 수집하고 각 주요 사업자 동향을 제시함으로써 전 세계 만화 시장을 파악하는 기초자료로 활용할 수 있도록 하였다.

5. 활용분야 및 실적: 이번 보고서는 일차적으로는 국내 만화 관련 기업의 글로벌 전략 수립 및 벤치마킹의 기초자료로 활용될 수 있을 것으로 기대되며, 이차적으로는 국내 만화 산업 발전 정책 입안의 참고자료로 활용될 수 있을 것으로 보인다.

6. 연구 효과 : 이 보고서는 세계 및 권역별 만화콘텐츠 시장에 대한 전반적인 현황 및 동향을 조사하는 것을 목적으로 하고 있어 각 만화 시장의 규모와 구조 및 특징을 파악하는데 도움이 될 것으로 보인다. 아울러 디지털화로 인한 기존 만화 산업의 환경 변화 및 사업 현황을 참고하는데 유용할 것으로 보인다.

- I -

제 1 장 만화 시장 개요 ·······························································································1

제 1 절 만화 시장의 정의와 특성 ····································································································1

1. 만화의 정의와 특성 ·························································································································· 1가. 만화의 정의 ······························································································································· 1나. 만화의 구조 및 특성 ·················································································································· 3다. 만화의 종류 ······························································································································ 5

2. 만화 산업의 정의 및 특성 ················································································································ 6

제 2 절 만화 산업의 분류체계와 조사방법론 ····················································································8

1. 만화 산업의 분류 체계 ····················································································································· 82. 조사 방법론 ····································································································································· 9

제 2 장 세계 만화 시장 동향 및 전망 ········································································12

제 1 절 세계 만화 시장 규모 및 전망 ····························································································12

제 2 절 세계 만화 시장의 주요 트렌드 ··························································································14

1. 만화, 원작산업으로써의 경쟁력 하락 ······························································································· 14가. 美 소설 & TV 드라마를 원작으로 한 만화의 확산 ···································································· 14나. 日 인기게임의 만화化 트렌드 정착 ·························································································· 16다. 中 TV 애니메이션을 원작으로 한 애니메이션 북의 인기상승 ····················································· 18

2. 만화제작방식의 변화 ····················································································································· 19가. 'Graphic Novel', 출판시장의 주요 장르로 부상 ·········································································· 19나. 해외 만화의 현지화(Localization) 노력 가시화 ·········································································· 20

3. 만화의 디지털 플랫폼 이용 확산 ····································································································· 22

제 3 장 권역별 만화 시장 동향 및 전망 ·····································································25

제 1 절 북미권 만화 시장 동향 및 전망 ························································································25

1. 북미권 만화 시장 동향 및 전망 ······································································································ 25

이러닝편 목차만화편 목차

- II -

2. 북미권 만화 시장 구조 및 특징 ······································································································ 263. 북미권 만화 시장의 이슈 및 트렌드 ································································································ 29

가. 일본産 ‘Manga(漫画)’의 인기 하락 ···························································································· 29나. 만화 사업자, 대형 미디어 사업자와의 통합으로 경쟁력 강화 ···················································· 31다. 디지털 만화 서비스 본격화 ····································································································· 33라. 소재 다양화 및 유통방식의 다변화 ···························································································· 36

제 2 절 유럽권 만화 시장 동향 및 전망 ························································································40

1. 유럽권 만화 시장 동향 및 전망 ······································································································ 40가. 프랑스 시장 규모 및 전망 ········································································································· 41나. 벨기에 만화 시장 동향 ············································································································· 43다. 독일 만화 시장 동향 ················································································································· 44

2. 유럽권 만화 시장의 구조 및 특징 ··································································································· 463. 유럽권 만화 시장의 이슈 및 트렌드 ································································································ 46

가. 만화의 고급화와 예술성 강조 트렌드 확산 ··········································································· 46나. 유럽 만화 시장 라이센싱 비즈니스 강화 ··················································································· 50

제 3 절 일본 만화 시장 동향 및 전망 ····························································································53

1. 일본 만화 시장 동향 및 전망 ·········································································································· 532. 일본 만화 시장의 구조 및 특징 ······································································································ 573. 일본 만화 시장 이슈 및 트렌드 ······································································································ 63

가. 출판 사업자간 제휴(Collaboration) 확대 ··················································································· 63나. 2차 창작시장 양성화를 위한 ‘오픈 포스트’ ·············································································· 64다. 모바일 만화 서비스 시장 전성기 돌입 ··················································································· 66라. 해외 디지털 만화 시장 진출 본격화 ························································································ 68

제 4 절 중국 만화 시장 동향 및 전망 ····························································································71

1. 중국 만화 시장 동향 및 전망 ·········································································································· 712. 중국 만화 시장의 구조 및 특징 ······································································································ 723. 중국 만화 시장 이슈 및 트렌드 ······································································································ 77

가. 창작만화 시장의 성장 및 해외만화 도작(盜作) 증가 ·································································· 77나. 중국 모바일 만화 서비스 확대 ······························································································· 80다. 중국 ‘Manhua’의 해외 판권 시장에서의 홍보 강화 ····································································· 82

제 5 절 아시아·태평양권 만화 시장 동향 및 전망 ········································································85

1. 아·태권 만화 시장 동향 및 전망 ····································································································· 852. 아·태권 만화 시장의 구조 및 특징 ·································································································· 863. 아·태권 만화 시장의 이슈 및 트렌드 ······························································································· 87

가. 베트남 만화 시장 - 온라인 불법 만화 유통에 대한 대책 시급 ·················································· 87나. 태국 만화 시장 - 아·태권에서 가장 건전한 만화 유통시장 보유 ··············································· 88

- III -

다. 싱가포르 만화 시장 - 만화 구매보다는 대여 시장이 주도 ························································· 88

제 6 절 남미권 만화 시장 동향 및 전망 ························································································90

제 4 장 주요 만화 기업 동향 ···················································································91

제 1 절 Marvel Entertainment Inc. ·······························································································91

1. Company Profile ···························································································································· 91가. 라이선싱(Licensing) 부문 ········································································································· 92나. 출판(Publishing) 부문 ·············································································································· 92다. 영화제작(Film Production) 부문 ······························································································· 92

2. 기업특징 및 경쟁력 분석 ················································································································ 93가. 경쟁력 ······································································································································ 93나. 위험요소 ·································································································································· 94

3. 최근 Company 이슈 ························································································································ 95

제 2 절 Time Warner 산하 -DC Comics ······················································································97

1. Company Profile ···························································································································· 972. 기업 특징 및 경쟁력 분석 ··············································································································· 97

가. 기업 구조 및 특징 ···················································································································· 98나. Time Warner의 사업전략 및 주요활동 ···················································································· 100

3. 최근 Company 이슈 ······················································································································ 101

제 3 절 Random House. Inc ······································································································103

1. Company Profile ·························································································································· 1032. 기업 특징 및 경쟁력 분석 ············································································································· 1033. 최근 Company 이슈 ······················································································································ 104

제 4 절 Kodansha.Ltd.(講談社) ····································································································1061. Company Profile ·························································································································· 1062. 기업 특징 및 경쟁력 분석 ············································································································· 1073. 최근 Company 이슈 ······················································································································ 107

제 5 절 Kadokawa Shoten Publishing Co.Ltd(角川文庫) ······························································1091. Company Profile ·························································································································· 1092. 기업 특징 및 경쟁력 분석 ············································································································· 1103. 최근 Company 이슈 ······················································································································ 111

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제 6 절 Shogakukan.Inc(小学館) ··································································································1121. Company Profile ·························································································································· 1122. 기업 특징 및 경쟁력 분석 ············································································································· 1123. 최근 Company 이슈 ······················································································································ 113

제 7 절 Shueisha.Inc(集英社) ······································································································1141. Company Profile ·························································································································· 1142. 기업 특징 및 경쟁력 분석 ············································································································· 1153. 최근 Company 이슈 ······················································································································ 115

제 5 장 주요 Conference 및 전시회 ·······································································117

제 1 절 Festival international de la bande dessinée d'Angoulême ············································117

1. 개요 ············································································································································· 1172. 행사 배경 ····································································································································· 1173. 2009년 행사 내용 ························································································································· 118

제 2 절 San Diego Comic Convention International(Comic-Con) ···············································120

1. 개요 ············································································································································· 1202. 행사 배경 ····································································································································· 1203. 2009년 행사 내용 ························································································································· 120

제 3 절 Tokyo International Anime Fair ·····················································································122

1. 개요 ············································································································································· 1222. 행사 배경 ····································································································································· 1223. 2009년 행사 내용 ························································································································· 122

제 4 절 Seoul International Cartoon and Animation Festival ·····················································124

1. 개요 ············································································································································· 1242. 행사 배경 ····································································································································· 1243. 2009년 행사 내용 ························································································································· 124

제 5 절 Anime EXPO ·················································································································126

1. 개요 ············································································································································· 1262. 행사 배경 ····································································································································· 1263. 2009년 행사 내용 ························································································································· 126

【참고자료】 ············································································································128

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만화에 대한 다양한 정의 ·················································································································· 2 만화 산업의 비즈니스 수익구조 및 유통채널 ····················································································· 10 세계 만화 시장 조사를 위한 주요 국가별 자료 수집 출처 리스트 ······················································ 11

전세계 만화 시장 규모 ···················································································································· 12 일본의 유명 게임을 원작으로 한 만화 ······························································································ 17

북미권 만화 시장 규모 ····················································································································· 25 미국 만화 시장의 역사 ···················································································································· 28 북미 Manga 출판부수 증감 추이 ······································································································· 30 유럽 만화 시장 규모 ························································································································ 40 프랑스 출판 시장 내 만화 매출 및 점유율 ······················································································ 41 2000년~2008년 프랑스 신규 만화 종류별 발행물 추이 ····································································· 42 2000년~2008년 주요 5대 출판사별 만화 발행물 수 추이 ································································· 42 프랑스 만화 판매 순위 TOP 10 중 벨기에 출신 만화 타이틀 (2008년 말 기준) ······························· 44 2004~2013 독일 출판시장 규모 ······································································································· 44 2009 유럽 인기 Graphic Novels ··································································································· 48 일본 만화 시장 규모 ······················································································································ 53 일본에서 발간 중인 만화잡지 및 2009년도 발행부수(2007.10.~2008.9.) ········································ 59 Open Post 참가 만화가 및 2차 창작 허용 콘텐츠 수 ······································································ 65 일본 소비자들의 성별 & 연령대별 만화 구매 금액 ·········································································· 70 중국 만화 시장 규모 ······················································································································ 71 중국 만화의 역사 ··························································································································· 74 ‘5,15,5 공정’후 창간된 중국 국영 만화잡지 ··················································································· 75 중국 주요 애니메이션·만화 전시회 ·································································································· 83 아·태권 만화 시장 규모 ·················································································································· 85 주요 만화 수출국의 아·태권 시장에서의 만화 경쟁력 ····································································· 86 남미 만화 시장 규모 ······················································································································ 90

Time Warner Cable의 서비스 브랜드 현황 ······················································································· 98

‘2009 앙굴렘’ 주요 시상 부문 ········································································································ 119 제8회 ‘Tokyo Anime Award’ Competition 주요 수상 내역 ······························································ 123 '서울국제만화애니메이션페스티벌(SICAF) 2009'의 주요 전시 및 이벤트 ········································· 125

만화편 표목차

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만화의 구조 ·································································································································· 3 내용에 따라 구분한 만화 장르 및 사례 ···························································································· 5 만화 산업의 가치사슬(Value Chain) ································································································ 8

전세계 만화 시장 규모 ················································································································ 12 2009 세계 만화 시장 권역별 매출 비중 ························································································· 13 인기 소설을 원작으로 한 만화 작품들 ··························································································· 15 패션계와의 Collaboration으로 새로운 만화 수요 창출을 시도한 Marvel ········································ 16 Marvel의 Shojo Manga풍 각색 버전 'X-Men:Misfits' ·································································· 20 만화와 소설이 결합한 ‘해공선(蟹工船)’ ·························································································· 21 디지털 만화를 구독할 수 있는 다양한 단말기 ················································································ 23 Flipnote Studio 이용방법 ············································································································· 24

북미권 만화 시장 규모 ·················································································································· 25 북미권 주요 만화 출판사별 매출 비중 ·························································································· 26 북미 일본 Manga 매출 증감 추이 ·································································································· 31 Walt Disney-Marvel 합병에 따른 각 사업자 별 장단점 ································································ 32 Time Warner와 Warner Bros.의 사업부문 조직도 ········································································· 33 DC Comics & Marvel의 디지털 만화 서비스 사례 ········································································· 34 Apple iTunes에서의 Motion Comics ‘Spider-Woman' 구입 화면 ··················································· 35 Marvel Comics Motion Comics ‘Spider-Woman' ······································································· 36 미국에서 인기를 끌고 있는 학습만화 사례 ····················································································· 37 만화를 원작으로 한 최신 영화 ····································································································· 38 미국에서 출판될 Princess Diana 만화 컷 ····················································································· 39 유럽 만화 시장 규모 ··················································································································· 40 프랑스 베스트셀러 순위 TOP 3을 차지한 만화 타이틀(09년 10월 31일 기준) ····························· 42 벨기에의 대표 만화 스머프와 TinTin ························································································· 43 브라움 만화의 유산과 현대미술전 ································································································ 47 애니메이션과 영화로 제작된 Asterix ·························································································· 51 프랑스 근교의 아스테릭스 공원(Parc d'Asterix) ·········································································· 51 게임으로 제작된 Asterix ··········································································································· 52 일본 만화 시장 규모 ··················································································································· 53 일본 출판만화 매출규모 증감 추이 ······························································································ 54 일본 출판만화 발행 부수 증감 추이 ····························································································· 55

만화편 그림 목차

- VII -

일본 디지털 만화 시장 규모 추이 ······························································································ 56 일본 주요 온라인 만화 사업자의 디지털 만화 서비스 타이틀 수 ··················································· 60 모바일 전자출판 및 모바일 만화 서비스의 비즈니스 개요 ···························································· 61 일본 주요 모바일 만화 서비스 사업자, 서비스 스크린 샷 ····························································· 62 디지털만화 이용자 서비스 이용현황 ····························································································· 62 ‘소년 매거진’과 ‘소년 선데이’의 공동 표지 ················································································· 63 오픈 포스트 2차 창작의 사례 ······································································································ 64 2007년 일본 전자만화 시장 현황 ································································································ 66 일본 주요 출판사 온라인 서비스 사례 ························································································· 67 만화로 보는 뉴스 ‘만화 신문(漫画の新聞)’ 서비스 사례 ······························································· 70 중국 만화 시장 규모 ··················································································································· 71 중국 잡지 출판 절차 ··················································································································· 76 중국 만화 단행본 출판 절차 ········································································································ 77 중국 애니메이션 및 만화 성공 사례 ····························································································· 78 도작 의혹을 받고 있는 중국산 애니메이션 & 만화 작품 ······························································ 79 중국 모바일 만화 서비스 이미지 ································································································· 81 중국 모바일 콘텐츠 시장규모 성장 추이 ······················································································ 81 중국고유의 화법을 사용한 인기고전소설 ‘四大名著’ 만화化 ··························································· 83 아·태권 만화 시장 규모 ··············································································································· 85 남미 만화 시장 규모 ··················································································································· 90

Marvel 주요사업부문별 매출 기여도 ···························································································· 93 Time Warner Networks Division 서비스 브랜드 ·········································································· 100 Time Warner의 미디어 부문 사업 포트폴리오 ············································································· 101 Kodansha의 ‘월간 디즈니 팬’ ······································································································· 107 Kadokawa 사업영역별 매출 비중 ································································································· 110 Kadokawa의 주요 베스트셀러 ······································································································ 111 Shogakukan 대표 간행물 ············································································································· 113 Shueisha-Microsoft의 드래곤볼 디지털 만화 서비스 ··································································· 116

앙굴렘 국제 만화 페스티벌 2009 현장 스케치 ············································································· 118 2009 앙굴렘 Official Prize-Winners 수상작 ‘Pinocchio’ ······························································ 119 San Diego Comic Convention International 2009 포스터 ····························································· 121 ‘2009 SICAF’ 주요 작품 ··········································································································· 125 AX 2009 스폰서 기업 현황 ········································································································· 127

제 1 절 만화 시장의 정의와 특성

2009 해외콘텐츠시장조사(만화) 1

제 1 장 만화 시장 개요


1. 만화의 정의와 특성

가. 만화의 정의만화는 시대, 지역, 사회계층에 따라 다양한 내용과 형식으로 존재해 온 탓에 학술적으로 개념화된 정의

는 없다. 초기에는 만화를 회화양식과 견주어 회화의 비주류의 한 갈래로 보거나, 만화의 선화에 주목하여 카툰(Cartoon)에 치우친 개념으로 설명하기도 하였으나 오늘날에는 만화의 회화적 성격과 함께 내러티브(Narrative), 커뮤니케이션(Communication) 요소 등을 고려한 정의가 주로 인정되고 있다.1)

우선 국어사전에서는 만화의 의미를 “붓 가는 대로 그린 그림”, “대상의 성격을 과장하고 생략하며 익살스럽고 산뜻하게 인생이나 사회를 풍자, 비판하는 그림의 한 형식”, “풍자나 우스갯거리 등을 주로 선화로써 경쾌하고 익살스럽게 그린 그림이나 어떤 줄거리가 있는 이야기를 연속된 그림과 대화로 엮은 것” 등으로 정의하고 있다.2)

만화 연구의 선구자격인 Coulton Waugh3)는 그의 저서 ‘The Comics'에서 “만화는 연속되는 그림에 의해서 이야기를 전달하는 방식이며 한 장면에서 다음 장면까지 이어지는 그림 안에 대화나 지문의 삽입 등의 요소를 포함하고 있는 예술 형식”이라고 정의하고 있으며, 美 Comic Book 작가 Scott McCloud4)는 저서 ‘Understanding Comics’에서 "대중적인 정보를 전달하거나 보는 이에게 미적 반응을 일으킬 목적으로 그림과 그 밖의 형상들을 의도한 순서대로 나란히 늘어놓은 것"이라고 규정하고 있다.

또 청강문화산업대학교 박인하 교수는 만화의 정의를 “그림과 글을 비롯한 상징화된 형상을 통해 수용자에게 연속된 연상 작용을 일으키며, 미적인 반응이나 정보를 전달하는 효과를 거두는 것” 혹은 “정보를 전달하거나 미적이니 반응을 일으킬 목적으로 그림과 글을 비롯한 상징화된 형상을 의도적으로 늘어놓거나 배치하여 수용자에게 연속된 연상 작용을 일으키는 것”이라고 정의하고 있다.

1) ‘만화콘텐츠의 산업적 활용사례 분석과 저작권 비즈니스 모델 구축에 대한 연구’(2006); 박성식, ‘만화를 위한 책’(1997); 박인하

29~34쪽 재인용

2) 동아 새국어사전(1994), 동아출판사

3) 영국 출신의 화가이자 작가이면서 만화가, 교육자로 널리 알려짐. AP News의 Strip 만화 ‘Dickie Dare’의 작가로 유명하며,

1947년에 출간된 ‘The Comics'는 가장 최초의 만화 학술서임

4) 미국의 만화가이자 만화 이론가. 대표작으로는 1984년 발간한 SF Super Hero 만화 시리즈 ‘Zot!’가 있으며, DC Comics의

Superman 시리즈 저자로도 활동한 바 있음. 1994년 만화의 정의, 역사, 용어 및 매체로서의 활용방법 등에 대해 고찰한

‘Understanding Comics’라는 저서를 통해 만화 이론가로서 이름을 알림


2 한국콘텐츠진흥원

이처럼 만화에 대한 전문가들의 정의는 폭넓고 다양하나 그 의견을 종합해 볼 때 만화란 ▲글(text)과 그림(image), 상징 언어, 효과선 등이 결합한 형식을 갖추고 있으며, ▲읽는 이의 적극적인 개입에 의한 연상 작용을 통해 ▲만화작가와 독자 사이에 커뮤니케이션(Communication)을 자극하면서 ▲만화만의 미학적, 예술적 가치를 창출하는 문화콘텐츠라 정의할 수 있겠다.

만화 전문가 명 & 저서 만화에 대한 정의

Coulton Waugh:

'The Comics'(1974)

"만화는 연속되는 그림에 의해서 이야기를 전달하는 방식이며, 한 장면에서 다음 장면까지 이어지는 그림 안에 대화나 지문 삽입 등 요소를 내포하고 있는 예술 형식"

Scott McCloud

‘Understanding Comics:

The Invisible Art’(1993)

"정보를 전달하거나 보는 이에게 미적 반응을 일으킬 목적으로 그림과 그 밖의 형상들을 의도한 순서대로 나란히 늘어놓은 것"

Maurice Horn:

‘The World Encyclopedia

of Comics'(1976)

"그 안에 완성된 하나의 생각을 갖고 있는 그림은 어떤 것이라고 만화라고 불릴 수 있다."

日 Wikipedia

“만화는 현시성(現時性:전체 내용을 한눈에 파악할 수 있을 것)과 선상성(線上性(각 ‘칸’을 따라 이야기의 흐름을 통해 내용을 파악할 수 있을 것)을 포괄하는 일련의 그림을 의미한다...중략...만화는 사물 및 현상을 간략화하고 추상화한 것으로 일반적으로 다음 4가지의 요소를 가지고 있어야 한다.”1)시각 정보를 그림으로 표시, 2)그림이 이야기의 전개를 동적으로 묘사하고 있되 삽화와 같이 글의 이해를 돕기 위한 것이 아니라 정보전달에서 주된 역할을 담당,3)인물의 대사는 ‘말풍선’을 내에 텍스트로, 기타 청각 정보는 의성어 등으로 표현, 4) ‘칸’, ‘칸새’, ‘말풍선’ 등과 같은 만화의 독자적인 기법과 형식에 따라 작성

한국문화콘텐츠진흥원:

만화 산업 중가기 계획

(2009~2013)

"만화에 대한 다양한 정의가 가능하나, 기본적으로 글과 그림이 적절히 혼합되어 예술 향유의 즐거움을 제공하는 장르라고 할 수 있다. 만화는 그림과 글이 어울린다는 점에서 글로만 이루어진 문학과 다르며, 독자가 읽기의 호흡을 스스로 조절하여야 한다는 점에서 영화를 비롯한 다른 영상물과 다르고, 인터랙티브(Interactive) 요소 없이 철저하게 내러티브(Narrative)중심이라는 점에서 게임과 다르다.”

박인하:

‘만화를 위한 책’(1997)

“그림과 글을 비롯한 상징화된 형상을 통해 수용자에게 연속된 연상 작용을 일으키며, 미적인 반응이나 정보를 전달하는 효과를 거두는 것 혹은 정보를 전달하거나 미적인 반응을 일으킬 목적으로 그림과 글을 비롯한 상징화된 형상을 의도적으로 늘어놓거나 배치하여 수용자에게 연속된 연상 작용을 일으키는 것”

이원복:

‘만화 프로테크닉’(2000)

"만화는 단순히 그림을 그리는 방식이 아니라 이상과 현실, 인간과 세계를 이해하고 바라보는 특정의 사유방식이라고 한다...중략....만화의 선은 대중의 이해가 미치지 못할 정도로 개성적인 표현을 할 수 없으며 대중의 이해를 돕는 방향으로 양식화 되고 정돈 되어야 한다."

만화에 대한 다양한 정의

자료원: 스트라베이스 재구성

만화의 기원은 학자에 따라 견해가 다르나 대중매체로서 본격적인 만화의 등장은 18세기 산업혁명 이후 다수의 민중을 상대로 하는 인쇄매체가 등장하면서 시작되었다고 보는 것이 일반적이다.5) 1789년 프랑스 대혁명 이후 ‘대중’이라는 개념이 처음 대두되었으며 이러한 대중을 구독자로 하는 값싼 신문, 잡지 등의 매체출현이 곧 만화매체의 광범위한 대중적 확산으로 연결됐다. 결국 대중과 소통을 생명으로 하는 대중문화 속에 만화가 있고, 대중에게 쉽게 이미지화 될 수 있다는 측면에서 대중문화의 정점에 만화가 있다고 할 수 있다. 5) ‘출판만화의 온라인상에서의 저작권 보호에 관한 고찰’(2008.11), 신지수



특히 만화는 형태적 측면에서 상징화된 생략과 과장, 유머, 위트 등의 표현으로 대중에게 호평을 받았고, 이후 점차 글과 그림의 긴밀한 결합이나 말 칸 등의 다양한 표현의 부호화 등 연출 방식의 발전을 통해 그 기법과 표현 양식이 더욱 풍부해졌다.6)

나. 만화의 구조 및 특성만화책의 구조를 보면 가장 작은 단위인 ‘칸’, 칸들의 연속인 ‘띠’, 두 칸 사이를 지칭하는 ‘칸새’, 그리고

칸과 띠를 구성하는 ‘한 면’이 있으며 그리고 대사나 생각을 글이나, 기호, 그림으로 담아내는 ‘말 칸(말풍선)’, 주인공뿐만 아니라 만화의 배경과 소재를 이루는 사물들을 표현하는 ‘효과음’ 등이 있다. 이처럼 각 단위를 한 면에서 구성하는 연출방식으로 ‘한 면 연출’은 만화의 중요한 창조적 요소이며, 서사의 다양한 방식을 만들어내는 만화만의 독자적인 구조와 형태이다.

칸

효과음 (의성어)

말 칸(말풍선)

한 면 연출

칸새

효과음 (의태어)

띠

효과선

칸

효과음 (의성어)

말 칸(말풍선)

한 면 연출

칸새

효과음 (의태어)

띠

효과선

만화의 구조

자료원: 아이큐 점프 드래곤볼, 스트라베이스 재구성

이 같은 구조로 형성되는 만화의 글(text)과 그림(image)은 상호 보완 관계를 갖는다. 글에 담긴 정보는 만화의 상징화된 그림을 통해 쉽게 해석되어 더욱 풍부한 감성으로 독자와 소통하고 그림의 감성은 글을 통해 분명한 방향성을 얻는다. 글과 그림이 결합한 만화의 형식은 만화의 독자층을 넓히는데 큰 역할을 한다. 문자만으로 이루어진 콘텐츠나 회화와 같은 미술 콘텐츠보다 글과 그림이 결합한 만화의 재미와 감동을 독자들은 훨씬 쉽고 익숙하게 받아들일 수 있다. 이 때문에 만화는 남녀노소나 학력의 높고 낮음을 떠나 광범위한 독자층을 형성할 수 있었다. 이는 산업적으로도 어느 장르보다 만화가 안정적인 시장을 확보할 수 있는 요소가 됐다.7) 6) ‘한국 근대만화 특징에 관한 연구’(2006), 김종옥



글과 그림이라는 만화의 상징화된 형상과 함께 독자들이 만화를 수용하는 측면에서 주목할 만한 요소는 수용자의 ‘연상 작용’이다. 만화의 기본 단위인 ‘칸’ 안에서는 말풍선과 효과음 등의 요소가 존재하며 만화의 이야기를 구성하는데 이러한 요소들은 읽는 이의 적극적인 개입이 있어야만 기능을 발휘할 수 있다. 즉, 읽는 이는 말풍선 안의 대사를 스스로 연상하며 자신의 감정으로 받아들이고, 효과음이 의미하는 소리나 움직임 등을 떠올리며 칸 안의 상황을 더욱 실감나게 느끼게 되는 것이다. 또한 만화에서 칸의 이동은 시간이나 공간, 혹은 시간과 공간이 함께 이동하는 것을 의미하는데, 연속적인 칸의 이동은 필연적으로 읽는 이의 적극적인 개입을 필요로 하게 된다. 만화는 만화작가의 창작에 의해 탄생하지만 읽는 이의 연상활동에 의해 완성되는 셈이다. 이러한 만화의 연상활동은 주어진 영상과 사운드를 수동적으로 감상해야 하는 영화나 애니메이션 등 영상장르와 만화를 구별해주는 중요한 요소가 된다.8)

물론, 이 같은 ‘무한 상상력’은 만화만의 것이 아니지만 창작의 메커니즘을 기준으로 보았을 때 역시 의미 있는 특징이라 할 수 있다.9) 실제로 이러한 ‘무한 상상력’은 제작비와 영상 테크놀로지 등 기술적 제약을 받는 영화나 애니메이션과는 달리10) 만화가 더욱 다양하고 넓은 세계를 다룰 수 있게 함과 동시에 다른 문화 콘텐츠의 원작으로 각광받으며 만화콘텐츠의 산업적 지평을 넓혀갈 수 있게 한 결정적인 요소가 되었다.11)

아울러 만화의 감상비용이 다른 장르의 문화콘텐츠에 비해 저렴하다는 점도 만화의 원작가치를 높여주는 중요한 요인으로 지목되고 있다. 특히 흑백 만화가 주류를 이루어온 아시아 만화권에서 만화의 감상비용은 상대적으로 더욱 저렴하며 이는 이 지역에서 광범위한 만화독자층 형성에 크게 기여하였다.

한편 만화는 영화, 애니메이션 등 타 콘텐츠와는 달리 각 국가별로 만화를 부르는 고유명사가 존재한다. 우리나라는 공식적으로 '만화(Manhwa)를 사용하고, 일본은 '망가(Manga)', 중국은 '만후아(Manhua)'라고 부른다.12) 또한 미국은 '코믹(Comic)', 프랑스에서는 만화를 ‘BD(베데)’라고 부르는데 이는 ‘방드 데지네(Bande dessinee)' 즉 ’연속된 그림 띠‘라는 뜻을 포함한다.13) 이탈리아어의 caricare(과장하다)라는 동사에 어원을 둔 캐리커처(caricature)14)는 영국·프랑스 등 극히 일부 유럽지역에서는 풍자화, 시사만화를 의미한다.

7) ‘만화 콘텐츠의 산업적 활용사례 분석과 저작권 비즈니스 모델 구축에 대한 연구’(2006.6), 박성식

8) ‘놀이, 게임, 만화에 대한 교육적 해석’ 중 ‘만화의 장르적 특성과 교육기재로서의 가치’(2005), 박성식, 한국교육인류학회 추계대

회 자료집

9) ‘만화 콘텐츠의 산업적 활용사례 분석과 저작권 비즈니스 모델 구축에 대한 연구’(2006.6), 박성식

10) 영화나 애니메이션 같은 영상 콘텐츠의 경우, 고액의 제작비와 고급영상 테크놀로지의 확보 여부에 따라 표현의 제약을 받을 수

밖에 없음. 그러나 만화의 경우 펜과 종이만 있으면 수천 명의 엑스트라를 동원하고 미래의 우주선을 등장시키는 일이 가능함

11) ‘만화콘텐츠 비즈니스’(2005), 한국문화콘텐츠진흥원

12) 서양에서 캐리커처(caricature), 카툰(cartoon), 코믹(comic) 등과 동일한 의미로 쓰이는 아시아의 ‘만화’라는 용어는 일본에서 만

들어진 표기가 그 어원임. 만화라는 용어가 현대와 같은 의미로 쓰이기 시작한 것은 근대 일본의 화가이자 만화가인 Kitazawa

Rakuten(北澤楽天)이 당시 유명 일간지 시사신보(時事新報)의 일요일 부록에 ‘시사만화(時事漫画)’라는 제목으로 만화를 게재하면서부터임. 아울러 Kitazawa는 이 ‘만화’라는 용어를 Katsushika Hokusai(葛飾北齋)가 1834년 출간한 귀족과 무사를 풍자한

만화 ‘Hokusai Manga(北齋漫画)'에서 인용하였다고 밝히고 있음13) ‘세계 만화미학론’(2009.8), 권경민

14) 일반적으로는 과장된 인물화를 캐리커처라고 부름



다. 만화의 종류 만화의 장르는 크게 독자층에 따라 ▲소년만화, ▲소녀만화, ▲성인만화 등으로 구분되며, 그 내용에 따

라 ▲SF, ▲추리·미스테리, ▲호러, ▲판타지, ▲학원물, ▲스포츠, ▲격투, ▲전문, ▲일상, ▲멜로, ▲역사, ▲개그, ▲미소년 & 미소녀 만화 등으로 구분된다.15)

그 중 SF, 추리·미스테리, 호러, 판타지, 스포츠, 멜로, 역사, 개그 등은 가장 전형적인 만화 장르이다. 학원물은 말 그대로 학교를 공간적 배경16)으로 학생들의 일상생활을 소재로 한 것이며, 의료, 음식, 골동품, 와인, 패션 등 전문적인 이야기를 다루고 있는 전문만화나 생활 속에서의 사소한 에피소드를 소재로 한 일상만화를 비롯해서 미소년과 미소녀들이 등장하며 동성애를 소재로 한 만화 등 그 장르는 더욱 다양해지고 있다.

SF 추리·미스테리 호러 판타지 학원물 스포츠 격투

superman

(美)명탐정 코난

(日)Fredy vs Jacson

vs Ash (美)레드문

(韓)

그남자그여자

(日)

테니스의 왕자

(日)유유백서

(日)

전문 일상 로맨스 역사, 개그 미소년 미소녀

닥터K

(日)

아따맘마

(日)

궁

(韓)

성덕태자

(日)The Simpsons

(美)

오늘부터 마왕

(日)

마리아님이

보고계셔 (日)

내용에 따라 구분한 만화 장르 및 사례

자료원: 스트라베이스

15) '장르 만화의 세계'(2004), 박인하

16) 일반적으로 고등학교나 중학교를 배경으로 함



2. 만화 산업의 정의 및 특성

문화콘텐츠 개념규정의 연장선상에서 살펴보면, “만화콘텐츠는 만화의 문화적 가치를 바탕으로 그 상징적 의미를 활용하여 대중들과 감성적으로 소통할 수 있는 문화 상품적, 경제적 가치를 지닌 콘텐츠”이며 만화 산업은 “이러한 만화상품의 개발, 제작, 생산, 유통, 소비 등과 이와 관련된 서비스를 행하는 산업”으로 정의 할 수 있다.17)

특히 만화는 작가의 창작물이면서 그 자체로 이야기적인 요소를 갖추고 있을 뿐 아니라 소설과 같은 텍스트 유형의 콘텐츠와는 달리 시각화된 캐릭터 및 이미지 요소를 갖추고 있다는 점에서 애니메이션, 게임, 드라마, 영화, 공연물, 캐릭터 상품 제작 등으로의 2차적 활용이 용이해 OSMU(One Source Multi Use)18) 비즈니스에 가장 적합한 산업으로 인식되고 있다.

산업적 측면에서의 만화콘텐츠는 다음과 같은 특징을 가진다.첫째, 만화콘텐츠 산업은 문화산업이다. 한 장르의 문화가 문화산업으로서의 지위를 얻기 위해서는 보편

적 다수의 대중이 그 장르를 통해 문화적 욕구를 해소하며, 구체적인 소비행위를 통해 시장형성을 위한 물적 토대가 되어주어야 한다.19) 즉 문화적인 토대가 튼튼해야 산업적으로 성장할 수 있다는 것이다. 실제로 전세계 시장에서 상당한 영향력을 과시하고 있는 Manga의 저력이 일본 자국 내에서의 탄탄한 수요층을 기반으로20) 하고 있다는 점은 이미 널리 알려진 사실이다.

둘째, 만화콘텐츠 산업은 흥행 산업이다. 일반적으로 흥행 산업은 ‘경쟁’과 ‘시장의 변별력’을 두 축으로 ‘high risk-high return'을 추구하는 속성을 지니고 있다. 통상 30% 미만의 흥행 성공작이 전체 산업을 이끌어 나가고 있으며, 내용상 감동과 재미를 중시하는 엔터테인먼트 산업의 속성도 가지고 있다.

셋째, 만화콘텐츠 산업은 원작산업이다. 원작산업은 해당 콘텐츠의 저작권을 판매하여 벌어들이는 수익을 산업의 근간으로 삼는 산업을 뜻한다. 만화콘텐츠 원작 산업이라는 것은 타 장르 문화콘텐츠 산업의 원작 콘텐츠로서 만화콘텐츠의 활용도를 높이고 원작 콘텐츠로서 그 저작권 판매를 통한 수익구조를 산업전체의 핵심 수익구조로 자리 잡도록 하는 비즈니스 구조를 의미한다. 비즈니스 모델로 정의하자면, 흥행성이 검증된 원작만화콘텐츠의 저작권(판권)을 활용해 다양한 장르의 문화콘텐츠로 제작하여 프로젝트의 리스크를 관리하고, 전체적으로는 저작권 비즈니스 분야의 수익을 최대화하는 프로세스라고 할 수 있다. 즉, 만화콘텐츠 산업은 전통적인 출판 산업의 패러다임에서 벗어나 저작권 산업이라는 새로운 산업 정체성 구축에 성공했다는 점에서 주목받고 있다. 17) ‘한국 만화 산업의 카투노믹스 (Cartoonomics) 전략‘(2009.9), 한국콘텐츠진흥원

18) OSMU(one source multi use)란 하나의 소재(one source)로 다양한 상품(Multi use)을 개발하고 보급하는 것을 뜻함. 부문 산

업 간의 유기적인 연관성의 증대로 인해 하나의 원천소스로 여러 산업을 동시에 부흥시키는 것을 의미함. OSMU는 미국, 일본과

같은 문화 강대국에서는 이미 보편화된 개념이며 거의 모든 문화콘텐츠 제작 시, OSMU에 대한 부분도 염두에 두고 진행하는

경우가 대부분임

19) ‘만화와 문화산업, 그리고 도시’(2007), 임학순외 공저

20) 일본 총무성이 2009년 3월 발표한 ‘미디어 소프트 제작 및 유통 실태에 관한 조사연구(メディア・ソフトの制作及び流通の実態に関する調査研究)’에 따르면 일본 만화 콘텐츠 시장은 약 540억 엔 규모(2006년 기준)로 신문, 서적, 잡지, 데이터베이스 기사 등을 포함하는 전체 텍스트 소프트 시장의 약 4%를 차지하고 있는 것으로 조사됨



특히 원작 산업으로서의 만화 콘텐츠 산업의 가능성은 앞서 언급한 만화의 미학적 장점에서 출발한다. 더하여 만화는 적은 기회비용으로 대중적인 검증이 가능하다는 점이 리스크 관리라는 측면에서 만화의 원작 콘텐츠 가치를 더욱 높게 해준다.21)

실제로 이미 만화 산업을 원작산업으로 이해하고 구현하는 것은 세계적인 트렌드이다. 출판만화에서 시작해서 애니메이션, 완구, 캐릭터 라이센스까지 망라하는 일본 만화 산업이나, 전통적인 코믹북 시장의 침체를 적극적인 영화화 전략으로 극복하고 오히려 코믹북 매출의 7배 이상의 수익을 영화화 판권을 비롯한 라이센스 분야에서 올리고 있는 미국의 만화 산업 등은 만화의 원작산업으로서의 대표적인 성공사례이다.

이렇듯 만화 산업은 단순히 출판 산업에서 벗어나 만화콘텐츠의 예술로써 상품가치를 확장하고 저작권 비즈니스를 통해 사업 영역을 폭을 확대해 나가고 있다.

21) ‘만화 콘텐츠 비즈니스’(2005), 한국문화콘테츠 진흥원



제 2 절 만화 산업의 분류체계와 조사방법론

1. 만화 산업의 분류 체계

광의의 의미에서 만화 산업은 만화콘텐츠의 활용 및 유통 방식에 따라 크게 ▲전통적인 출판(만화단행본, 만화잡지, 일일만화연재, 그림동화 등)과 ▲영상물(극장용/TV용 애니메이션, 광고 등), ▲뉴미디어(웹툰, 디지털만화, 모바일만화 등), ▲캐릭터 상품화22) 등 4가지로 분류된다.

만화 산업의 가치사슬(Value Chain)


전통적인 출판 시장은 가장 보수적인 의미의 만화 시장이다. 인쇄술의 발달과 함께 종이만화도 발전을 거듭하며, 만화잡지와 단행본을 비롯하여 교육용 만화서적 등 다양한 형태의 인쇄만화가 등장했다. 출판시장은 만화콘텐츠가 제작되어 가장 먼저 유통되는 시장이며 대부분의 경우 이 시장에서 형성된 만화 콘텐츠의 지명도나 인기를 기반으로 타 장르의 문화콘텐츠로 재활용된다.

그러나 최근 유무선 브로드밴드 서비스 등 디지털 기술 진보에 따른 네트워크의 고도화와 PC, 휴대전화단말기, IPTV, e-Book 리더기, 게임기 등 다양한 정보통신 단말기의 보급이 뉴미디어 시장의 확산을 촉발하면서 웹툰(webtoon)과 같은 디지털만화나 모바일 만화가 기존의 만화 1차 유통시장인 출판만화와 동시에 제공되는 사례가 증가하고 있으며 오히려 최근에는 만화 콘텐츠의 새로운 1차 유통 시장으로도 주목을 받고 있다.22) 캐릭터 상품화 시장에는 완구, 게임, 의류, 식음료, 문구, 팬시 용품, 어린이 용품, 가방, 신발에 이르는 다양한 상품군의 판매시

장이 포함되어 있음



만화콘텐츠의 또 다른 유통 방식으로는 극장용, TV 애니메이션, 광고 등 영상물에 활용되는 사례가 있다.23) 영상물로 제작된 만화는 TV, 극장 등의 매체를 통해 해당 콘텐츠에 대한 인지도를 확대하고 이러한 매스미디어의 힘을 빌어 만화 등장인물의 캐릭터 이미지를 상품에 적용하여 소비자의 제품에 대한 구매 의욕을 높이는 역할을 한다. 이러한 과정을 통해 만화콘텐츠는 더 큰 부가가치를 창출하는 캐릭터상품화(머천다이징) 시장으로 만화콘텐츠 활용 범위를 넓혀나갈 수 있는 입지를 구축하게 된다.

캐릭터 상품화(머천다이징)시장은 만화 주인공들의 이미지를 완구, 게임, 의류, 식품, 가구, 침구, 문구 와 같은 다양한 상품에 적용하고 이들 캐릭터의 인지도와 인기를 기반으로 “상품 판매량 확대”라는 시너지 효과를 창출하는 것을 목적으로 한다. 인기 캐릭터 상품의 경우, 전통적인 만화 시장인 출판만화 시장이나 뉴미디어 만화 시장, 영상물 시장의 매출을 능가하는 막대한 경제적 효과를 얻을 수 있다.24)

2. 조사 방법론

이 보고서는 1)각종 관련 지표를 활용하여 전세계, 권역별 만화 시장규모 및 추이를 파악할 수 있는 정량적 지표를 제공하고, 2)통계 자료를 통해 제시하기 어렵거나 불가능한 정성적 자료들을 수집하여 만화 산업 트렌드와 수요자 동향을 제시할 수 있도록 구성되었다.

앞서 만화 산업의 분류체계에서 언급한 바와 같이 만화 산업을 통해 수익을 창출할 수 있는 시장은 크게 ▲출판시장, ▲뉴미디어시장, ▲영상시장, ▲상품화 시장 등으로 구분된다.

그러나 본고에서는 2차 영상시장과 3차 상품화 시장은 만화 콘텐츠 시장규모 산출에서 제외하였다. 영상시장과 상품화 시장의 경우, 만화콘텐츠를 영상과 캐릭터라는 또 다른 형식의 콘텐츠로 재가공한 것이기 때문에 엄격한 의미에서의 만화콘텐츠로 보기 어려울 뿐더러 이들 시장규모는 각각 애니메이션, 영화, 캐릭터 콘텐츠 부문에서 별도로 언급하고 있기 때문이다.25)

따라서 본고에서는 만화 단행본과 잡지를 포함하는 출판만화 시장과 만화콘텐츠의 1차 시장으로 부상하고 있는 뉴미디어 시장규모만을 통계 산출 대상으로 한다. 그러나 전세계 출판만화 및 디지털 만화콘텐츠 시장 규모에 관한 공신력 있는 기관이나 단체에서 발표한 통계 자료가 전무하기 때문에 각 권역별로 만화관련 협회 및 단체에서 발표한 만화출판 시장규모가 있는 경우 이 통계치를 준용하였으며 그러한 통계자료를 구하지 못한 권역은 해당 권역의 출판시장규모와 e-book 시장규모에서 만화가 차지하는 비중을 적용하여 산출하였다.

23) 만화는 애니메이션의 좋은 소재가 되기도 하고, 상품의 프로모션 및 광고 등에도 자주 사용되어 옴

24) 미키마우스와 포켓몬스터와 같이 전 세계적인 인지도와 인기를 확보하게 될 경우, 꾸준한 상품화를 통해 지속적인 수익 창출도

가능

25) 만화 산업의 1차 유통시장인 출판시장과 뉴미디어 시장에서의 만화콘텐츠 수익은 각각 ▲만화잡지 매출과 ▲만화 단행본 매출,

▲출판사업자들이 직접 운영하는 온라인·모바일 만화콘텐츠 서비스 매출과 ▲포털 사이트나 기타 온라인·모바일 콘텐츠 사업자들

에게 해당 콘텐츠 제공을 통해 얻는 미니멈개런티(판권료), 러닝로열티 수입 등으로 구분됨



구분 수익모델 유통채널 제품 형태

1차

시장

출판

시장

- 만화잡지 매출

- 만화단행본 매출

- 서점 등 출판 유통 채널

- 만화전문매장

- 잡지(Comics)

- 단행본 (Graphic Novel)

뉴미디어

시장

- 온라인만화 서비스매출(출판사 직영사이트)

- 모바일만화 서비스매출(출판사 직영사이트)

- 온라인 & 모바일 콘텐츠 판권료 & 러닝로열티

(他포털 및 디지털콘텐츠 제공 사이트)

- 출판사,포털 등

온라인&모바일 사이트

- 온라인 만화(웹툰)

- 모바일 만화

2차

시장

영상

시장

- 2차 저작물 제작 판권료

- 비디오, DVD 등의 러닝로열티

- 영화관

- 지상파, 케이블TV 등

미디어 채널

- 비디오, DVD 등

온·오프라인 도소매

- 영화, TV드라마, 애니

메이션 등

3차

시장

상품화

시장

- 상품화 미니멈 개런티

- 상품화 러닝 로열티- 온·오프라인 도소매

- 문구, 완구, 의류,

제과, 잡화 등

만화 산업의 비즈니스 수익구조 및 유통채널

자료원: 도서 만화와 문화산업 그리고 도시, 스트라베이스 재구성

아울러 각 국가별 주요 트렌드 및 이슈 등과 같은 정성적 자료 수집에 활용한 소싱 채널은 다음과 같다.



국가 구분 수집처 홈페이지

전세계 협회National Association of Comic Arts

Educatorswww.teachingcomics.org

전세계 협회 International Comic Arts Association www.comicarts.org

전세계 기관 Comic Book Legal Defense Fund www.cbldf.com

전세계 미디어 Comic Book Bin www.comicbookbin.com

미국 기관 New York Comic Book Museum www.nycomicbookmuseum.org

미국 미디어 Comics www.comics.com

미국 미디어 The Big Comic Book DataBase www.comics-db.com

미국 기업 Comics & Games Retailer www.comicsretailer.com

미국 기업 Marvel marvel.com

미국 기업 DC Comics www.dccomics.com/

미국 기업 Diamond Comic Distributors www.diamondcomics.com/

미국 미디어 The Beat pwbeat.publishersweekly.com/blog

미국 미디어 The Comics Journal www.tcj.com

미국 전문업체 ICv2 www.ICV2.com

일본 연구소 출판과학연구소 www.ajpea.or.jp

일본 협회 디지털 콘텐츠 협회(DCAJ) www.dcaj.org/dcwp

일본 협회 서적출판협회 www.jbpa.or.jp

일본 협회 전국출판협회 www.ajpea.or.jp/a_index.html

일본 협회 Japan Cartoonist Association www.nihonmangakakyokai.or.jp

일본 기업 Shueisha(集英社) www.shueisha.co.jp

일본 기업 Kodansha(講談社) www.kodansha.co.jp

일본 기업 Shogakukan(小学館) www.shogakukan.co.jp일본 기업 Kadokawabunko(角川文庫) www.kadokawa.co.jp

일본 기업 Mangazenkan(漫画全館) mangazenkan.com유럽 협회 Federation of European Publishers www.fep-fee.be

유럽 협회The European Federation of Magazine

Publishers www.faep.org

유럽 협회Online Publishers Association Europe

(OPA Europe)www.opa-europe.org

유럽 협회 European Booksellers Federation www.ebf-eu.org

프랑스 기관 Center for Comic Books and Images www.cnbdi.fr

프랑스 정부프랑스 문화부(Directions regionales des

affaires Culturelles)www.languedoc-roussilon.culture.gouv.fr

프랑스 기업 Mangatec www.mangatec.fr

독일 협회 독일 만화애호가협회(e.V.ICOM) www.comic-i.com

영국 협회 The Booksellers Association www.booksellers.org.uk

중국 정부기관 중국만화상업포럼 www.ccif.com.cn

중국 정부기관 중국문화산업망 www.cnci.gov.cn

중국 미디어 Search China news.searchina.ne.jp

중국 미디어 人民網日本語版 japanese.china.org.cn

중국 미디어 中国特快ニュース www.tokkai.com

세계 만화 시장 조사를 위한 주요 국가별 자료 수집 출처 리스트


제 2 장 세계 만화 시장 동향 및 전망


제 2 장 세계 만화 시장 동향 및 전망

제 1 절 세계 만화 시장 규모 및 전망

2009년 전 세계 만화 시장 규모는 전년도 대비 약 2.3% 감소한 63억 110만 달러 규모로 추산되며, 연평균 1.9%의 증가세를 보이며 2014년까지 69억 3,150만 달러 규모를 형성할 것으로 예상되고 있다.

구분 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014'09-'14

CAGR

출판만화 시장 5555.8 5767.8 6022.5 6179.4 6232.4 6063.3 6012.0 6102.7 6198.6 6309.4 6419.2 1.1%

디지털만화 시장 8.6 27.7 93.6 160.9 215.4 237.8 264.3 304.1 360.4 429.5 512.2 16.6%

합계 5564.3 5795.4 6116.1 6340.3 6447.7 6301.1 6276.3 6406.9 6559.0 6738.9 6931.5 1.9%

전세계 만화 시장 규모

(단위: 백만 �

Ë ³ û ï Ý ± Ä ìi부터 영화, 애니메이션, 캐릭터, 게임 등과 같은 다양한...

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