[Current & Culture] Who Spat in the Theater?

Major Theaters and Distributors Manipulate Audience Numbers
After Hardships, the Peak Season Has Arrived
But Have Apologies and Countermeasures Been Sufficient?

The theater industry is in crisis. Until before COVID-19, business was thriving, but since the pandemic began, it has been stuck in a slump. As a screenwriter and someone who has hosted a film podcast for over 10 years, I feel deeply troubled.

Theater is both a dream space and a workplace. The process itself?stories born in the minds of directors and writers, brought to life through actors' performances, transformed into visuals, and then presented before a silent audience?is a movie in itself. It is also a space where the livelihoods of countless people are at stake, from filming, lighting, production, investment, distribution, promotion, to those selling tickets, popping popcorn, and cleaning in the theater. That place is in danger.

Some argue that the theater industry's decline is not due to COVID-19 but was destined to fade away eventually, overwhelmed by platform industries led by Netflix. Probably, both adverse factors have worked together. Then, are film industry workers merely victims suffering from external attacks?

Recently, a chilling piece of news came to light. Major theaters and distributors were reported to have manipulated audience numbers. Last month, police even raided theaters and conducted seizures in a grim scene. This came after perceptive audiences had already presented clear evidence of ticket sales manipulation one after another.

When choosing a movie at the theater, criteria vary by person, but many people select movies that are ‘doing well.’ It’s like choosing a popular dish at a restaurant. Box office manipulation is a deceitful act against consumers and a spit in the well of the film industry.

The industry situation is dire. CJ CGV, the number one domestic theater company, plunged into financial difficulties and carried out a paid-in capital increase worth 570 billion won, and including in-kind contributions of affiliate shares, the total capital increase amounts to a staggering 1 trillion won. The plummeting stock price has fallen by more than 30% currently.

Other companies are also coming up with ways to use theaters for events other than movies to survive. However, audiences are far from approving. It’s like someone who committed fraud recommending you buy something else.

Meanwhile, Crime City 3 surpassed 10 million viewers following the second installment. It is almost monopolizing the market alone, including both domestic and foreign films. Given the significant rise in ticket prices, it feels like a warning from audiences that they will not open their wallets unless given definite pleasure. Could this be a warning that films with gentle emotions or heavy thematic consciousness will struggle to survive?

Some say those kinds of films can be watched at home. However, all the directors I know unanimously say the opposite before their releases. They say, “Please watch our films in theaters.” Regardless of genre. There is a reason directors say this. No matter how big the monitor or how powerful the home theater system, nothing can fully replace the theater space. The theater is an element that completes the film, like the director, actors, or props.

After the worst June in film industry history, the summer peak season market has now opened. The industry is marketing to audiences, saying there are many worthwhile films to watch.

But have they sufficiently apologized for the ranking manipulation? Are the countermeasures adequate? Related legislation has been proposed to strengthen penalties, with increased fines and imprisonment of up to two years as key points. Legal amendments alone cannot win back the hearts of audiences who have left theaters. It may be a clich?, but sincere apologies and thorough reflection must come first. Those who spat in the well, where are you?

Lee Jae-ik, Novelist

This content was produced with the assistance of AI translation services.