November 19-21, 2003
ICC JEJU, KOREA
WITH A VIEW TO
The recent publication of
and Media Outlook: 2003-2007 made
some interesting predictions for the AsiaPacific region.
By the end of 2003, the Asia-Pacific
region will have surpassed the US as
the world’s largest broadband market.
Internet advertising and access
spending in the region is predicted to
increase from US$ 12.6 billion in 2002
to US$ 25.1 billion in 2007.
Asia-Pacific Pay TV including satellite,
cable and premium platforms, and
government mandated TV license fees
will grow by 7.8 per cent annually from
US$ 21.5 billion in 2002 to US$ 31.2
billion in 2007.
In 2002, the Asia-Pacific region was the
world’s largest market for video games.
Current sales of US$ 8.4 billion are
expected to increase to around US$
12.6 billion by 2007.
LOCAL EXECUTIVES CONFIRM
NEW SENCE OF OPTIMISM
HE support of the South Korean
government has been instrumental
in transforming Korea’s entertainment industry from a local producer into a regional player in the AsiaPacific region.
In the case of the television and
broadcasting industries, the ministry of
culture and tourism has already outlined
a strategy that will ensure continued
support up to 2007. This investment is
clearly paying off. Whereas economic
growth in South Korea has risen by 6.1%
during the last five years, growth in the
media content sector has shot up by a
remarkable 21% for the same period.
Combined exports of programmes for the
years 2001 and 2002 rose by 52%, while
imports increased by 23%.
It is against this backdrop that the 3rd
edition of Broadcast Worldwide (BCWW
2003) opens on beautiful Jeju Island,
located just off the southern coast of
South Korea. The three day market
(November 19-21), will attract some of
the biggest content and programming
groups in Asia, as well as many of their
international partners and colleagues.
“BCWW is a meeting place for marketing
and co-production executives, but it is
also increasingly attracting broadcasting
Korean minister of culture and
tourism: Lee Chang-dong
investors from across the globe,” says
Koh Jin, president of the Korean
Broadcasting Institute which, together
with Arirang TV, is one of the two
organisers of the event.
Park Jae Bok, director of MBC Production
and member of the BCWW 2003
organising committee, points out that the
digital age is also creating increasing
demands for new types of content. Asian
countries, and particularly South Korea
with its extensive hi-tech experience, can
play a pivotal role in supplying such
THE DAY-TO-DAY planning and organisation of BCWW 2003 is handled by local
Korean media company Eight Peaks. CEO
of Eight Peaks, BJ Song, notes that the
BCWW event has played an important
role in accelerating the globalisation of
the Asian content industries by boosting
both content and information exchange.
The Korean Independent Producers‘
Association, with 102 member companies, has given Korean content a
major boost on the world stage.
“Attendance at BCWW is becoming
a must,” notes KIPA secretary general
Shim Jae Joo. “The line up of invited
specialists and consultants in the media
industry, plus the schedule of events and
screenings, gives a much needed
overview of the current state of the local
and regional industries.”
Some of that Asian perspective comes
from the raft of member companies in
the Korean Cable TV Association
(KCTA). Says KCTA president SamYeol Yoo, “The cable TV industry has
faced some major changes with digital
convergence,” and BCWW is a place
where “we hope to share the
perspectives and experiences of other
media professionals and develop
fruitful working relationships.”
The new trend setter
Senior executives from within the Korean
broadcasting community, reflect upon the
new found confidence of the local media
The first half of 2003 was not easy. But
there is a renewed sense of optimism as
the economies of the Asia-Pacific region
start to rebound. Some recent stories that
made the media headlines….
Welcome to the PreView for the 3rd edition of
BCWW 2003. We hope that this magazine will give
you a little insight into some of the events that we
already have planned for the forthcoming BCWW
2003 Media Market.
The biggest change, of course, is our relocation to
Jeju Island. Jeju-Do has a long tradition of
hospitality, and offers delegates the opportunity to
do business in very beautiful and relaxed
surroundings. We know that you will not be
disappointed! Our heartfelt thanks to the local
authorities on Jeju Island and ICC Jeju for their
I would also like to take this opportunity to say ‘thank
you’ to the ministry of culture and tourism, Arirang
TV, The Korean Broadcasting Institute, and the many
members of the Organising Committee who have
helped make BCWW 2003 possible. And finally, I
would of course like to say ‘thank you’ to all the
delegates from near and far who will be attending
BCWW 2003. We very much appreciate your support
and, on behalf of all the members and staff at the
BCWW 2003 secretariat, we look forward to
welcoming you soon to Jeju Island in November!
BCWW 2003 Secretariat
Publisher BJ Song
Prepared for BCWW 2003 by TvFormats Ltd
Editorial director Mirko Whitfield
News editor Marlene Edmunds
Sub-editor Harry Melland
Proof reader Jay Bernard
Graphic design and layout Saskia Whitfield
Editorial assistants Kyu-Ar Jeon and Rachel Kim
Published by Eight Peaks Content Group
2nd Floor, Social Research Center, 95-3, Sangsu-dong
Mapo-gu, Seoul, 121-791 Korea
What works where, when and why? A
cross section of international TV executives
offer their opinions and insights.
A brief look at the topics that will be
discussed at this year’s conference
We take a sneak preview at some of the
programmes that distributors will be
bringing to Jeju Island for BCWW 2003.
A BUYERS MARKET
Do you know what they’re looking for?
Animation? Documentaries? Drama?
Formats? Marlene Edmunds did some
How do I participate? Getting there and
away. Accommodation and information. A
brief guide to participating at BCWW 2003,
and some tips on how to make your
journey a smooth experience.
THE KOREAN RENAISSANCE
the new trendsetter
The third edition of BCWW is timely. Not only
is South Korea experiencing a media
renaissance, but it is also, Marlene Edmunds
reports, grooming itself for a major role on
the world stage.
are several factors
driving South Korea’s media
revolution. First and foremost,
government financial and infrastructural support is at an all time
high. Under the guidance of its new
culture and tourism minister, Lee
Chang-dong – himself an awardwinning film director and writer –
South Korea is to launch a new
terrestrial channel as a platform for
additional independent content.
Observers interpret this as a further
sign that the country’s media
industry is entering a new and more
New minister of
Meanwhile, South Korea’s international profile is also on the rise, as
the territory moves to take its place
on the world stage as an
increasingly important exporter and
importer of content. And, despite a
healthily competitive media market,
there is a new a spirit of cooperation and collaboration among
South Korean companies.
It is in this positive atmosphere that
the BCWW organisers, Korean
Broadcasting Institute and Arirang
TV, will be welcoming the thousands
of delegates who are expected to
attend the third edition of the event
in November. These television
professionals are coming from
across the world, drawn by the
promise of building partnerships,
swapping programming, attending
conferences addressing the latest
media issues and relaxing with old
friends and new colleagues.
Koh Jin, president of the Korean
Broadcasting Institute, encapsulates
the spirit of BCWW: “It is our sincere
hope that BCWW will help to build up
faith and mutual understanding
among Asian people, and facilitate
the active exchange of progamming
between Asian countries. In this way,
we hope to create a win-win situation,
benefiting both the global industry
and Asia’s individual markets.“
Koh notes that the “multimedia,
multichannel environment has
pushed content sales and distribution to unprecedented levels.
Simultaneously, deregulation and
the creation of giant media groups
through mergers and acquisitions
has increased competition on both
the domestic and international
Meanwhile, the efforts of the
culture and tourism ministry to
President of the Korean
Broadcasting Institute: Koh Jin
SOUTH Korea's new culture
and tourism minister, Lee
Chang-dong, has both an
academic and a hands-on
creative background. Lee was
a former professor of the
Korean National Institute of
Arts, School of Film and
Multimedia until he began his
creative career as a writer. He
debuted his first film, Green
Fish, in 1996. Peppermint
Candy, which bowed out in
1999, won him critical
acclaim both in South Korea
and abroad. In 2002, Lee
brought home five top
awards from the 59th Venice
Film Festival for his film
Oasis, a tale of love between
a social misfit and a woman
afflicted with cerebral palsy.
THE KOREAN RENAISSANCE
the new trendsetter
boost activity have already taken
the South Korean industry a long
way towards becoming one of
Asia’s broadcasting hubs. Eight
Peaks’ CEO BJ Song says a good
case can be made for South Korea
becoming Asia’s TV central. To
begin with, he notes, the country
has the key advantage of
a prime geographical position
between China, Japan, Taiwan and
MBC Production‘s director Park Jae
Bok agrees that, both geographically
and culturally, South Korea’s
ambition to become a major content
hub for Asia makes sense:
“Traditionally, South Korea is a
country of rich sensibilities. Its 5,000year history provides us with a
myriad of themes for stories that can
be turned into compelling content.
Also, South Korean people know
how to enjoy and celebrate life.
Singing and dancing are much loved
in our country. This is the cultural
heritage we have to offer – and not
just to Asia but to the whole world.“
BCWW is not, however, just about
buying and selling programming – or
even about sharing information
through conferences and seminars. A
number of the event’s organisers,
System (KBS), are also promoting
their vision of pan-Asian co-operation.
This concept not only encompasses
increased co-production between
Asian companies, but also the
sharing of research and information.
According to Eun Mun Ki, director
of KBS’ content and strategy
department, the broadcaster used
to focus on the Asian market. “But
our aims have changed,“ he says.
“We now want to exploit brands
across the world, and to
encourage the development of
new partnerships with distributors
He adds that the new media
climate has raised the quality
bar: “Viewer expectations have
changed and Asian audiences now
expect the highest standards.“ The
KBS executive believes that, by
working together in “informational
partnerships“, Asian players –
especially public broadcasters –
could create a valuable resource.
In terms of content, this spirit of
“strength in unity“ is already taking
root, says Paul Joeng Kie Kim, head
of sales and acquisitions at EBS.
“These kinds of co-operations will
produce content that can travel
across Asia and into the wider
world,“ he adds.
PREPARE for an action-packed three days... BCWW's line-up of
events and activities includes a special VIP reception and cocktail
buffet dinner on November 19, with a welcome speech by the
provincial governor of JeJu, Woo Keun-Min, and a speech by the
South Korean culture and tourism minister Lee Chang-dong. On
November 20, special screenings of TV shows, films, animated
cartoons and documentaries will be held. And finally, for those
who fancy a bit of rest and relaxation in between their business
commitments, BCWW's organisers have arranged several special
excursions, including the Jeju tour and a golf programme.
Paul Joeng Kie Kim, head of sales
and acquisitions at EBS
AS A LEADING content provider in South Korea, CJ Media
is typical of the companies
planning to attend BCWW in
November. CJ Media's cable
comprises five channels and a
VOD business. Its channel
bouquet consists of the music
outlets m.net and m.net
Nonstop, the movie channel
Home CGV, the entertainment
channel XTM, and Food
Channel. “We plan to continue
to diversify in the media
industry,“ says the company's
CEO, Lee Kang Bok.
The first half of 2003 proved to be a challenging
period for many countries in the Asia-Pacific
region. However, a summary of some of the top
news stories of the last couple of months
clearly indicates that the local tv industry has
strongly rebounded, and that the region is once
again open for business…
ASIAN Broadcasters are rapidly realizing the moneymaking potential of
SMS, or TXT-2-TV as it is sometimes known. When MTV India recently
ran a “VJ Hunt” over a six day period, it received more than 200,000
premium text messages, at 30¢ per message. The audience was allowed
to “chat” live with members of the show and vote for their favorite VJ. A
recent ESPN Star Sports pan-Asian contest, sponsored by X-Box, took
more than 100,000 SMS responses.
THE MAINLAND Chinese epic
action film Hero brought in a
634.64 million yen (US$5.33
million) at box offices in Japan
during its premiere weekend of
August 16/17. This is a record
taking for a non-Japanese Asian
film. The rights were acquired for
Japan from Movie Television,
one of Japan’s major TV rights
brokers, with TV Asahi securing
the television rights.
THIS year, ESPN Star Sports
(ESS) celebrates ten years of
legitimate distribution in China.
ESS's distribution in China
increased from 82 million to 127
million households in August
2002, when English Premier
League soccer bowed nationwide. Deals have also been
completed with more than 20
regional TV stations as well as
national channels CCTV 5 and
TELEVISION (SET) India is
actively seeking content for its
local channels – Sony TV, SET
Max and AXN. Aside from the
usual US and UK sources, SET
has now started sourcing content
from Argentina, Brazil, China,
Indonesia, Italy, Portugal, South
Africa and Spain. According to
executive VP Sunil Lulla, SET
made local versions of three
overseas shows last year: Meri
Biwi Wonderful, adapted from US
classic Bewitched; gameshow
Name That Tune (Kuch Kahti Hai
Yeh Dhun); and Russian Roulette
(Bachke Rahna), and Jassi Jaissi
Koi Nahin taken from the Latin
American telenovela Yo soy
Betty la Fea.
Connie the Cow… Grazing her
way around the Pacific Rim
SPANISH animation producer
Neptuno Films has confirmed
that it will be producing a further
52 episodes of Connie the Cow.
The preschool toon has already
been broadcast in Australia
(ABC), Hong Kong (ATV), Korea
(EBS), New Zealand (Prime Time),
Singapore (TV 12) and Thailand
(UBC). Distribution in these
territories is handled by Alliance
DISCOVERY Networks Asia
(DNA) has added five new
channels to the Discovery
Showcase package on the PCCW
Now broadband platform in Hong
Kong. The launch is scheduled for
October, and will be the first time
that three of the channels –
Discovery Health, Discovery
Science, Discovery and H&L – are
available in the Asian territories.
THE JAPANESE format Alternative Love has been licensed to UK
independent production house 12 Yard Productions, and is currently
being developed in the UK for BBC2. Re-named as Three’s a Crowd, the
'love-triangle' format was originally devised by TBS (Tokyo Broadcasting
Systems) and is distributed outside Japan by New York-based Bellon
INDIAN 2D animation house
IN ITS recent annual report, the umbrella distributor TV France
Digikore Studios has signed a
further agreement with New
Zealand's Gtoyz Management,
this time to produce Kungfu
Millionaire – an animated TV
series and a theatrical feature.
Digikore will begin production on
the US$15m combined project in
the New Year, with Gtoyz
handling pre-production and
projects. The Indian studio is
currently working on a 2D
animation series with Belgium's
International has reported continued growth in programme sales to
China, Korea and Latin America. This was in stark contrast to combined
worldwide figures, which saw international sales of French
programming decrease by 16% in 2002. Hardest hit were co-productions
and presales which were down by more than 40%. Animation was the
strongest genre accounting for 42% of total French exports.
CHINA’S CCTV has acquired a number of feature films from Argentine
distributor Telefe International, including Un Argentino en Nueva York
and Papá es un Idolo. This is the second major deal for Telefe in China,
following on from the earlier success of The Pretenders (Los
JAPAN’s largest cable TV
NEWS CORP. and Liu Changlebacked Phoenix channel increased sales and narrowed
losses in its financial year to endJune. The Hong Kong based pay
TV station increased its revenues
to HK$709m, which was up on
the HK$685m posted a year
earlier. According to official
sources, Phoenix is the ninth
most popular Chinese Channel on
provider, Jupiter Programming
(JPC), a 50/50 joint venture
between Liberty Media International and Sumitomo Corporation, has joined up with a
consortium of companies including
Tohokushinsha Film Corporation
to launch a new content
distribution company called OnLine TV. The new company will
offer video-on-demand as well as
tv programming via the Internet
on broadband connections or via
fiber-to-the-home services. Commercial operations are expected
to begin in January 2004.
CURRENT market leader Cable TV will soon face stiff competition in
the Hong Kong Pay TV market, as a number of new players line up on
the sidelines. The most significant threat will be from Galaxy Satellite
Broadcasting, a joint venture between TVB and Intelsat. A further local
contender, HKBN (a unit of City Telecom – CTI) started operations on
August 10, and will offer a bundled package of broadband and phone
services. HKBN has the potential to offer access to 200 channels. Joining
the party will be PCCW which will launch its Now Broadband TV in late
September. PCCW expects to have more than 30 channels by the end of
2003, but has the capacity to offer 400. Such stiff competition has not
deterred relative newcomers Yes Television and TV Plus from also
attempting to recruit new subscribers from amongst Hong Kong 6.8
Aping around in… Whatever Things
HONG KONG-based production
outfit Chiseen, a subsidiary of
Deansee Entertainment, have
licensed a new stunt format
called Whatever Things to MTV
Networks Asia. Described as the
Asian version of Jackass, the
show will broadcast starting at
the beginning of September on
eight MTV networks throughout
Asia, covering China, India,
Indonesia, Korea, Malaysia, The
Philippines, Singapore, Taiwan
AN ASTONISHING array of religious pay TV channels have recently
CNBC ASIA PACIFIC has
launched in India, all hoping to tap into the 24 million cable and satellite
homes which already cater to an estimated 150 million viewers. The two
main private channels, Aastha (Faith) and Sanskar (Tradition) beam
Hindu religious programs 24 hours a day, and claim a viewership of 20
million and 10 million respectively. This success has prompted the
launch of Delhi-based Sadhna TV, with a further two stations – Ahimsa
TV and Sanskriti – expected soon. Not to be outdone, Christian
broadcaster GOD TV has launched God Channel in the state of Tamil
Nadu and already claims to have 5 million viewers.
pacted with MGM Networks to
launch and market the Hollywood
studio’s classic movie channel to
subscribers across key markets in
Asia, including China. The MGM
channel will be broadcast in
English and will carry Mandarin
language subtitling, and is
scheduled to launch later this year.
DANISH toon producer TV
Animation recently completed a
licensing deal for Mira + Marie (13
x 5 mins) with Korean broadcaster
Educational Broadcasting System
(EBS). Targeted at children
between the ages of 3-7, Mira +
Marie won Best Fiction for
Preschool at this years’ Nordic
Children’s TV Festival. The
animation series describes the
friendship between an elephant
and a horse, and is co-produced
with Scandinavian broadcasters
DR (Denmark) and SVT (Sweden).
HIGH POINT Films & Television
(UK) have successfully completed
a number of TV, video and DVD
rights deals for Murder Rooms (5
x 100 mins) with NHK (Japan),
Star Image and Sunflower (China),
and Jumbo Films (Thailand). The
Sherlock Holmes-inspired telefilm
is a co-pro-duction involving BBC
Films (UK), WGBH Boston (US)
and the Television Production
Mira + Marie (TV Animation).
KING WORLD International
Productions (US) announced
further Asian deals for its
interactive studio quiz format The
Vault. Developed by Keshet
Broadcasting and Erez Tal back in
2001, the Israeli format has now
been licensed to Binh Duong TV
in Vietnam and iTV in Thailand,
with production expected to start
ENCORE INTERNATIONAL, the only foreign media company to
have a daily block of programming on the Chinese national broadcaster
CCTV, recently entered into a program licensing agreement with Sony
Pictures Television International to acquire a total of 150 hours of
programming from Sony’s library. The deal provides Encore with
exclusive rights in the PRC to various SPTI drama series, which will air
on the Jiayi primetime block on CCTV-8.
Commission is stepping up its
campaign to protect TV quotas
and film subsidies, fearing that
Hollywood may gain greater
access to the local market
during negotiations for a freetrade pact between the two
countries. Australian negotiators
initially argued that the trade
agreement with the US should
resemble a similar pact that the
Australian government recently
signed with Singapore, which
excluded the audiovisual sector.
US trade officials are believed
to have rejected this proposal
and demanded further liberalization of the Australian film or
IN AUGUST 2003, the MPA (Motion Picture Association) won a
major landmark decision in China in its fight against video piracy. Legal
action was started in September 2002 against Shanghai Hezhong
Enterprise Development Company, Shanghai Husheng Audio & Video
Company, Zeng Kouliang and Shanghai Yatu Audio Video & Cultural
Distribution Company for copyright infringement. A local court ruled in
favour of the US studios concerned, and awarded costs and damages.
The relative speed at which these cases were resolved, has prompted
some observers to suggest that China is becoming increasingly
committed to resolving the piracy issue. In 2002, the MPA seized 6.1
million pirate DVD discs during raids in China.
THE MEDIA conglomerate, TOM Group, has acquired a 64 per cent
Asian Format Guru – Robert Chua
ROBERT CHUA’S Everyone
Wins secured an 83 per cent
viewer share when it premiered
on local Hong Kong station
TVB in September. Originally
launched on Shanghai Oriental
Television earlier this year, the
format has met with similar
success in Singapore where it
was broadcast on MediaCorp’s
Channel 8. Another Chua
format, You be the Judge, has
also been licensed to Singapore,
and has aroused the interest of
both British and German
controlling stake in CETV (China Entertainment Television) from AOL
Time Warner subsidiary Turner Broadcasting System Asia Pacific Inc.
(TBS). TBS retains a 36 per cent share and a buy-back option of all or
some of the stake until 2010. TOM assumes management control of
CETV, and has declared that it will spend US$ 30 million on the
Mandarin-language satellite channel over the next 30 months.
A NEW animation series The
Father of Inis Cool (26 x 30 mins)
brings together coproduction
partners from Ireland (TerraGlyph, Telegael Teoranta, TG4
and The Irish Film Board),
Germany (KIKA), France (LuxAnimation), and Korea (Ocon
Inc.). The series was created by
Irish animator David McCamley.
International rights for the series
International (UK) which is
hoping to present the first
episode at MIPCOM 2003.
THE US government's Broadcasting Board of Governors has
recruited Farrell Meisel as a
senior consultant for the Middle
(MTN). Until recently, Meisel had
been Chief Operating Officer for
Singapore broadcaster MediaCorp Group. MTN is a new 24hour Arabic language satellite
news and information channel,
and is scheduled to be launched
later this year.
THE UK based channel distributor
Zone Vision is expanding into
Asia Pacific, and recently
celebrated the launch of its
Reality TV Channel on Destiny
Cable in the Philippines. Reality
TV is currently seen in over 120
territories including in the UK,
India and Latin America.
NEWS CORP. JAPAN HOLDINGS is selling its 8.1% share in
satcaster Sky Perfect Communications which it helped launch in 1994.
News Corp.’s shares, worth US$226.56 million, will be distributed
equally among the other three main shareholders, Fuji Television, Sony
Broadcast Media and trading house Itochu Corp.. Each will end up with
an equal share of 12.65%. The cash generated will also help Murdoch's
US$6.4 billion acquisition of DirecTV in the US.
“WE AIM TO
“WE HAVE always seen
South Korea as the Asian
hub for the animation and
games industries. South
Korea's output volume, and
the breadth and depth of its
involvement in those two
sectors are becoming
increasingly important to
other Asian players. In addition, the positive influence
that South Korea has had in terms of furthering the
culture of both animation and gaming is impressive – not
only by this region's standards, but also by the standards
of the world.
“We aim to replicate the South Korean business model
for the animation and games industries. We believe that
successful South Korean companies would make
excellent case studies for Malaysia companies, given
that many of the environmental factors between our two
countries are similar.
“Meanwhile, South Korea‘s change from an OEM
manufacturing-based industry to that of an OEM
animation/games-based industry has been amazing to
see. And, I admit, we are envious. Three thousand of the
last Simpsons‘ episodes were produced in South Korea.
And nobody noticed the difference in quality.“
“WE’VE LEARNED A
LOT FROM SOUTH
“EM.TV IS at BCWW for
the third time and, I must
say, we really appreciate
Korean companies are in
terms of their dealings
with distributors. We have
not only learned a lot from
them, but we have also
been able to proﬁt from that knowledge in other
markets around the world. For example, in South
Korea we do deals for multiple platforms that we
do in few other territories. These agreements
include the rights for mobile, Video-On-Demand
[VOD] – even for paper series.
“In addition to the public broadcasters, we are also
selling product to a number of other South Korean
companies. We have successfully launched a
branded block under our umbrella brand Junior on
the cable and satellite channel Daekyo. And we
have also sold a number of titles, including The
World Of Tosh, Flipper And Lopaka and Puccini, to
the terrestrial broadcasters. Our strategy for selling
in South Korea is the same as our strategy for
selling anywhere else in the world: learn everything
you can about your target market.”
PATRICK ELMENDORFF, PRESIDENT OF TV
DISTRIBUTION, EM.TV & MERCHANDISING
MIZA MOHAMAD, CEO, FLARE STUDIOS (MALAYSIA).
“THERE'S A GENERAL ‘OPENING-UP’ OF ASIA”
“THESE days, Asian kids have better access to more sports facilities and, with cable and
satellite TV giving greater coverage to sports, they can also see the best players in the
world for longer periods of time on a more regular basis. They want to emulate their heroes
– and they now have an opportunity to do so. This, in turn, is making Asian athletes more
successful on the world stage.
“Sports sponsorship in Asia has risen hand in hand with sports‘ increased TV exposure. And
it also reflects the general ‘opening’ up of Asia and the increase in the number of foreign companies investing
heavily in the region.
“South Korea‘s appetite for sport has gone far beyond an enthusiasm for traditional games like football and
baseball. A case in point is the huge interest in the World Wrestling Entertainment [WWE] TV shows and live
events. One of the reasons for WWE's popularity is, I think, because the shows are just that – entertainment."
JULIAN JACKSON, HEAD OF TV SALES AND MARKETING, TOTAL SPORTS ASIA (MALAYSIA).
“GOOD PRODUCT SELLS ITSELF”
“WHILE the demand in Asia for reality and entertainment formats is on the rise, our theatrical
and TV movies are also doing very well – especially those that originate from the US. For
example, we’ve recently had success with The Rudy Giuliani Story: Rudy’s Wars, which has
been bought by a number of Asian broadcasters. It’s indeed a timely programme, linked as it
is to September 11 and the memorial events that have been taking place this year.
“South Korea – particularly the educational public broadcaster EBS – is very keen on movies, period
drama and literary adaptations. We are also seeing more interest in our slate of documentaries, as
well as an upsurge in demand for our line-up of High-Deﬁnition TV [HDTV] titles.
“But at the end of the day, good product sells itself. Having said that, we are very much encouraged by the launch
of dozens of new channels in the region.”
STEPHEN DRISCOLL, SALES EXECUTIVE FOR ASIA, CARLTON INTERNATIONAL MEDIA (UK).
“FROM our perspective,
business in China and
Vietnam is very good at the
moment, but the slowing
economy has had an
impact on our activities
in South Korea. In my
experience, the Chinese
want programming about
modern life in the West,
along with documentaries about educational and
medical developments. However, Chinese buyers are
very up-to-date and they are only interested in the latest
product. Don’t try to sell dated programming in China –
you won’t get anywhere.
“In Vietnam, it’s a different story. There, buyers will
accept catalogue material that is up to ﬁve years old if it
suits their taste – which tends toward romantic dramas
“The purchasing needs of the South Korea market have
slowed down in 2003, compared with the last three
years. But this is a cyclical business, as we all know - it’s
the same everywhere in the world. And, at Beta, we are
accustomed to working with our clients to help solve any
temporary problems that might occur.”
YAN HE, INTERNATIONAL SALES EXECUTIVE,
BETA FILM (GERMANY).
“SOUTH KOREAN DRAMA IS
ENJOYING A BOOM”
“THE EXPANSION of Asia’s
cable and satellite universe
and the launch of digital TV
is exposing Asian audiences
to high-quality foreign
programming as never
before. As a result, the
competition for the TV
rights to those programmes
has increased signiﬁcantly
in recent years.
“We believe the BCWW event is a good
opportunity for us to discover programming that
is a bit different from the run-of-the-mill
Japanese, European and US dramas. Asian
programming, and especially South Korean
drama, is currently enjoying a boom. The success
of the South Korean series Winter Sonata, for
example, has sparked a lot of interest in South
Korean TV dramas and ﬁlms.
“The popularity of South Korean dramas in
Japan has certainly broken the ice, and drawn
viewer attention to non-Japanese programming.
Conversely, I think it is likely that the opening up
of South Korea to Japanese culture will have a
positive effect on NHK’s programme sales and
production in that country.”
NORIO ISHII, SENIOR ASSOCIATE DIRECTOR OF
MULTIMEDIA DEVELOPMENT DEPARTMENT
The two day BCWW 2003 conference programme is divided into three sessions which will look at
the Future of the Asian Broadcasting Industry, New Media Trends in Asia, and Regional CoProduction and Media Investment respectively.
Organised by Arirang TV and the Korean Broadcasting Institute, the topics have been selected to
give delegates a broad overview of critical issues that are affecting the Asian broadcasting industries.
A number of high profile executives have already confirmed their participation, and a full list of speakers
will be posted on the BCWW website in the near future (please see www.bcww.net for more details).
All sessions will be simultaneously translated into either Korean or English.
SESSION I – THE FUTURE OF THE ASIA BROADCASTING INDUSTRY
Market Overview: Future trends in Hong Kong, Malaysia, The Philippines and Singapore
Hong Kong has long been recognized as one of the major centres of the Asian film industry,
whilst Singapore continues to actively promote itself as the broadcasting hub of Asia. The
Philippines, however, is better known for its animation production for overseas clients,
whereas multi-cultural Malaysia has established itself as a multi-lingual production centre.
But to what extent do broadcasters and distributors from these four countries cooperate
with each other?
A Model of Success: Why are the US majors so successful in the Asia-Pacific region?
When it comes to entertainment, no other country can match the global success of the US
music, film and television industries. Why are the Americans so successful at exporting their
culture? Do they really make better programmes and films? Or do producers and
distributors in other countries simply lack the financial resources that would enable them to
compete with Hollywood on an international basis? What does it take to have a hit in
Beverly Hills and then export it to Berlin, Bangkok, Brisbane and Buenos Aires?
Let‘s Work Together: A new spirit of broadcasting cooperation
The economic links between China, Japan and Korea are already very substantial. Likewise,
the last 10 years has also seen a greater sense of cooperation between the broadcasting
communities of these three countries. In this session, we will examine the benefits that such
cooperation brings, and examine the potential of a “China-Japan-Korea” broadcasting union.
Reception at Jeju Shilla Hotel (Halla Hall)*
Sponsored by the Jeju Provincial Government
Welcoming address by the provincial governor of Jeju Province
Welcoming address by the minister of culture & tourism
Cocktails & buffet dinner
complimentary bus shuttle service will transfer delegates from the ICC Jeju to the Jeju
SESSION II – NEW MEDIA TRENDS IN ASIA
We have a Winner! Asian formats travel the region.
The Price Is Right is television’s longest running game show. First launched in 1956 in the
US, it is still regularly broadcast in 26 countries worldwide. The longevity of formats, plus
the fact that they are also relatively cheap to produce, has undoubtedly been a contributing
factor in the recent global formats explosion. In Asia, developers and producers are also
beginning to find that formats travel particularly well across cultural and language barriers.
We hear from some of the region’s top producers on how they took an idea and turned
into a recipe for success.
Broadcasting versus Webcasting: The advent of wireless television
With 11 million broadband subscribers, Korea has the highest broadband penetration of any
country in the world. The country’s first webcasting service was already launched in 1999,
as a joint venture between public broadcaster KBS and Korean Telecom. Today, the KBS site
offers viewers real time and on demand access to 144 television shows and 114 radio
shows. With more original interactive content being developed for webcasting services, and
the recent launch of live webcasting of two terrestrial channels through wireless internet
platforms, is the world witnessing the advent of wireless television?
Interactive TV: Getting the audience to interact
Interactive TV is available in 31 million European households. This exciting new technology
has prompted the development of a wide range of new applications and services, with
betting and gaming already proving to be the most lucrative areas. With some analysts
predicting global iTV revenues of US$ 2.5 billion by 2006, this session will examine the
opportunities of both iTV and eTV. What aspects of interactivity do audiences respond to?
What are the challenges? How can developers and content owners benefit? And which
strategy is the best one for your territory?
SESSION III – REGIONAL CO-PRODUCTION AND MEDIA INVESTMENT
Asian Co-Productions: Creating a winning combination – Part 1
This is the first session of a two part special case study, in which the panelists will discuss
some of the complexities involved in co-production. The audience will be taken through the
steps involved in finding suitable partners, attracting financial investment, producing the
programme and finding the right distributor for the finished product. During these two
sessions, the speakers will also touch upon contractual issues such as the overall deal
structure, profit participation, term exclusivity, and ancillary rights.
In this real life scenario, the co-production partners are CTS (Taiwan), Eight Peaks (Korea),
Mediacorp TV (Singapore) and Zombo Media (China).
Asian Co-Productions: Creating a winning combination – Part 2
Understanding the structure of foreign investment
A guide for local Korean companies on how to attract foreign investment.
CHINA TV Programme Agency – the international arm of China Central TV, the
country’s largest broadcaster – is showcasing two new titles at BCWW: a
modern-day detective yarn and a new version of one of China’s oldest legends.
In Honour (22 x 50 mins), the action starts when a series of bank robberies sweep
China. The new director of public security, Lin Jingdong, and his fellow officers
crack the case – but, in the process, uncover a much more serious financial
crime. This time, Lin isn’t so lucky and the suspect flees to the US. Then, on a
business trip to the States several years later, Lin finds himself once again on the
trail of the criminal.
Phoenix Sonata (32 x 50 mins), meanwhile, is director Wang Liheng’s version of
one of China’s oldest tales – the story of the love affair between the poet Sima
Xiangru and Lady Zhuo Wenjun. The impoverished Sima Xiangru enchants Zhou
Wenjun, the widowed daughter of a wealthy man, with his beautiful poem about a male phoenix. The series follows the
efforts of these two star-crossed lovers to stay together.
Phoenix Sonata (China TV
Olympic Games: Sports,
People, Emotions (Studio L).
GERMANY’s Studio L is
offering pre-sales and
sales at BCWW of its new
entitled Olympic Games:
Sports, People, Emotions
(6 x 30 mins). The project,
which looks at the
sporting, human and
entertainment aspects of
the Olympics from 756 BC
to 2004 AD, is produced
(ARD). Scheduled to be
completed in March 2004,
the series will include
pictures of the modern
Olympics intertwined with
glimpses of the ancient
Greek games as they
might have been.
Targeted at 16- to 35-year-olds, the series should appeal to
sports and history fans alike. Among the subjects covered
are the Olympic spirit, winners from ancient to modern
times, opening ceremonies, and the business and politics
of the games.
The project, which will be available in both English and
German, includes shots of contemporary Olympic
participants, including Carl Lewis, Daley Thomson, Marc Spitz,
Greg Louganis, Michael Jordan and Steffi Graf. It also includes
12 15-minute shorts and 20 three-to-five minute clips.
EYE ON TIGERS
Of Siberia (EBS).
THEY LIVE isolated lives far from human habitation –
but not far enough to prevent humans from
threatening their survival. In EBS’s Endangered
Emperors Of Siberia, a documentary team from the
South Korean educational broadcaster has tracked
and recorded the plight of the Siberian tiger, which is
in danger of extinction as a result of dwindling food
supplies, the destruction of its habitat, water
contamination and poachers.
In 1997, an EBS documentary team set off for remote
Petrova Island to capture on film for the first time the
seriously threatened Siberian tiger. From October 2001
to May 2003, the EBS team returned to Petrova,
spending two harsh winters on the island. This resultant
documentary, which chronicles the sad demise of three
generations of tigers, includes rare footage of a feline
that once dominated a vast and unspoiled terrain. Other
EBS documentaries to be unveiled at BCWW include
The Written Word, which looks at the origins of writing,
and China, The Land Of Merchants.
MARTIAL ARTS HIT THE
Blue or Blue?
IF YOU can’t get enough of martial
arts and sword fighting, pay a visit to
MBC. The South Korean broadcaster
is unveiling The Legendary Police
Woman at BCWW. Shot in high
definition, the drama depicts the life
of a famed policewoman of the
Chosun Dynasty, who possessed
unconventional and advanced ideas.
CIVILISED APPROACH FROM NHK
SHOT IN High-Definition, Eurasian Empires – Paths To Civilisation is among the
pack of new titles being brought to BCWW by MICO, the international arm of the
Japanese public broadcaster NHK. The eight-episode series looks at the rise and
fall of the major Eurasian civilisations, covering a period of 1,600 years from
Alexander the Great to Kublai Khan. Drawing from the latest discoveries, research
and digital technology, Eurasian Empires investigates the diverse cultures of
Eurasia and how they have influenced the modern world.
Also on MBC’s slate is the variety
show Mystery TV Surprise, and the
drama Something About 1%. The
latter is a romantic comedy in the best
tradition of boy-meets-girl. The story
starts when a Korean middle-school
teacher, Da-Hyun Kim, helps a poor
old man by giving up her seat in the
subway and helping him with his
bags. This seems to spark off a series
of unexplained events. Meanwhile,
Jae-In finds that his grandfather
intends to bequeath his fortune to DaHyun – a girl Jae-In has never met...
Mystery TV Surprise (MBC).
MICO is also showcasing Wonder Bevil (working title), a 30 x 10 mins animation
series based on the characters created by Shotaro Ishinomori. In the series, Bevil
is a little devil – literally – and he and his 10-year-old pal Ryota dash around having
adventures involving good and evil. But complications ensue since, as a little
devil, Bevil has some problems figuring out just what “good” actually means.
Meanwhile, Blue or Blue? – Another Me (16 x 15 mins) is a drama about
doppelgangers. If you had a double – a person who looked exactly like you – could
that person have the same personality as you? And could he or she take over your
life? These are just two of the unsettling questions posed in the series.
FROM GUNS TO NUNS
GERMANY’s Beta Film is showcasing the drama Law Of The Lawless (15 x 60 mins), which
traces the rise and fall of gangs of mobsters in post-communist Russia. In the Alexey Sidorovdirected series, Sasha Belov returns home to Moscow in 1989 from two years fighting in
Afghanistan. He and three friends begin to accumulate wealth and enemies in a struggle that
involves corrupt officials and ruthless warlords.
Directed by Fabrizio Costa, the mini-series Mother Teresa Of Calcutta is the story of one of the
most remarkable women of the 20th century. Mother Teresa – the charismatic nun in a simple
sari – needs no introduction. The series is produced by Lux Vide for the Italian broadcaster Rai,
in association with Beta Film.
Law Of The Lawless
Other BCWW priorities include Wind In The Palms, Udo Witte’s film about love, lies, a tropical
island and a beautiful woman.
Naruto and Nanaka (TV Tokyo
TUNING INTO TV TOKYO
TV TOKYO Medianet – the licensing arm of the Japanese terrestrial broadcasting
network TV Tokyo – is unveiling its entertainment shows TV Champion, Dreaming
Journey and The Appraisers at BCWW. A wide range of dramas from the Love And
Mystery and Masterpieces Of Japanese Modern Literature collections are also on
offer, as well as the drama series Blue Experience and Blue Impact, starring
members of the Korean pop group Y2K.
TV Tokyo has also recently launched an ambitious super-hero project entitled The
Gransazers: Battalion Of The Zodiacs. The action focuses on 12 fighters, who unite
to save the earth from annihilation.
Known for its wide range of programming, spanning concept-driven light
entertainment, and quality documentary and drama, TV Tokyo has built up a
reputation for its Japanimation successes, which include Evangelion, Pokemon, YuGi-Oh!, Hamtori/Hamtaro, Beyblade/Topblade and Shaman King. Among its latest
animation offerings are Naruto, Nanaka 6/17, Dear Boys and Mythic Sleuth Loki.
FRANCE’s Pix Entertainment is
showcasing Yakons, an indevelopment cartoon project
that crosses a number of
geographic as well as cultural
boundaries, at BCWW. The
series follows the adventures of
the Yakons, who come to earth
on a quest for the lost continent
of Atlantis. Their mission takes
them across the globe, from
Asia to the Middle East and
South America, learning about
local history, myth and folklore
in the process. In each episode,
kids and their parents can learn
how people dress, what they
eat and how they live in
Established in 1997, Pix Entertainment is a subsidiary of Amito
France, the European head office
of South Korea-based Pix
company was established as a
research and development
centre for real time, 2-D and 3-D
animation for new media. Among
Pix Entertainment’s other titles is
the 26-episode animation Albert,
and Clopy, a 13-episode animation currently in co-production
with South Korea’s YTN.
KBS GETS DRAMATIC
HOLD ON to your hearts: the Korean public broadcaster KBS is unveiling Summer Scent,
the latest of its heartthrob mini-series to have taken Asia by storm. KBS two earlier dramas,
Autumn In My Heart and Winter Sonata, created emotional turmoil across the Far East,
with eager fans stampeding the location shoots, and buyers elbowing each other to pick
up the rights.
Summer Scent is no less of an emotional roller-coaster. Min-wu has lost his first love. He
then meets Hyae-won – but she reminds him of his lost girlfriend. The plot thickens when its
revealed that Hyae-won has received a heart transplant, and that her heart has come from
none other than Min-wu’s lost first love…
My Little Fox,
KBS is also showcasing the animated series My Little Fox, Yorang (26 x 30 mins), which tells
the story of Yorang, a book watcher in heaven, who loses a magic book that has the power to make wishes come true.
As a punishment, Yorang must come to Earth to retrieve the magic book – and so an exciting quest begins.
JAPANESE AIM TO PLEASE
TWENTY-first Century passion is the subject of TBS’ hit
drama, Good Luck, starring Takuya Kimura. The latest
of a pack of dramas that have delivered high ratings for
the Japanese broadcaster, Good Luck tells the story of
a young officer on an intercontinental airliner who loses
his heart to a female aeroplane engineer.
TBS is also showcasing its newest format for young
adults, Aim For The Bouquet. In the quiz show, a
mystery celebrity answer questions in front of a 100strong audience. Based on the answers, the audience
judges the desirability of the celebrity.
Other TBS’ priorities include the High-Definition TV
(HDTV) documentary The Best Hotel, which takes
viewers on a tour of the world’s most exclusive hotels;
the animation title Lunar Legend Tsukihime, about a
young man with special
abilities who discovers
the world of vampires;
and the feature film
Closer To Home, which
focuses on old age,
family relationships and
the meaning of life.
Closer to Home (TBS).
THE CHILDREN’s content
company Daekyo Network
is unveiling its latest
production, English And
Me (52 x 20 mins), at
BCWW. Targeted at four- to
seven-year-olds, the show
explore, enjoy and learn the
English language through Achu Rang Kong Kong
physical activities, songs,
stories, games and puzzles.
The programme segments include English & Gym, English &
Story and English & Music.
Other Daekyo priorities include Achu Rang Kong Kong, a
pre-school show that aims to help children to develop their
co-ordination and musical sensibilities by playing and
singing games together. The lead characters are cute baby
button Achu and his cheerful friend Doo Doo.
Who Lives In The Underwater World? (26 x 30 mins), which
is aimed at the five- to 12-year-old crowd, focuses on the
secret water world in locations as diverse as Australia’s
Great Barrier Reef, Malaysia’s Sipidan Island and the
Maldives. And Uncle Kim’s Paper Folding teaches children
how to be creative with coloured paper and recycled articles.
The show is aimed at four- to 10-year-olds and their parents.
WALKING WITH THE BBC
CAVEMEN? Mammals? Robots? All worlds apart – but perhaps not as
unconnected as one might think. BBC Worldwide is showcasing three of its
latest titles at BCWW, and each one touches on one of these subjects.
In the animation Little Robots, Tiny and his friends build a new world when they
find themselves abandoned on a scrap heap and turn the junk around them into
a home. Tiny is the unofficial leader of the gang, which includes Sporty, a fitnessobsessed robot, and a gentle giant called Stripey, who’s a slow but deep thinker.
Following in the hugely successful footsteps of Walking With Dinosaurs and
Walking With Beasts, Walking With Cavemen looks back to the beginnings of
human life in a four-part series that uses the
latest technology to bring the pre-historic
world to life.
Walking With Cavemen (BBC
The Life Of Mammals (10 x 50 mins),
meanwhile, is the latest wildlife documentary
to be written and presented by Sir David
Attenborough. The BBC/Discovery Channel coproduction looks at the 4,000 species that are
furry, warm-blooded, nurse their young with
milk and have, in some cases, conquered the
furthest outposts of the planet.
MINI-SERIES MAKE MAJOR
THE CONTENT group Eight Peaks has
distributed some 360 hours of new TV drama to
Asian territories in the last two years, as well as
providing marketing and promotional services
for the programming.
The mini-series Bright Girl’s Success pulled in
ratings of as high as 44.5% when it aired on the
South Korean broadcaster SBS in 2002. The
series – featuring South Korea’s hottest stars,
Jang Heok and Jang Na-ra – tells the tale of a
young woman who is sent by her parents to
Seoul to serve as a maid, but her pure heart
gradually wins her true love.
My Fair Lady (SBS Productions).
SBS BANKS ON
MATERIALISM, purity and the
complicated life of a con man are a
few of the themes touched on by the
new titles being unveiled at BCWW by
SBS Productions, the production arm
of the South Korean Broadcaster SBS.
Chronicling the lives of three young married
women and their sometimes humorous love
affairs, the mini-series Woman Next Door
Bodyguard (Eight Peaks).
grabbed a lot of attention and pulled in heavy
ratings when it first aired on MBC. Another successful mini-series is The Trio,
which focuses on the relationship between three friends.
Produced for KBS’ new weekend drama slot, the South Korean drama series
Bodyguard, starring heartthrob Cha Seung-won, looks at the lives and loves of
bodyguards. The series has become a hit on the South Korean public broadcaster
and the number one-rated programme in its time slot.
PENGUINS living in a snowy winter wonderland?
A teen with extraordinary powers? Fairies who
keep the world in harmony? All these subjects
can be found in the latest animation titles
brought to BCWW by Seoul-based Iconix.
The star-crossed lovers in My Fair
Lady (16 x 60 mins) are a materialistic woman and a man with a pure
heart. The series tells the story of
Min Gyung, a woman who believes
that money can buy her happiness
and love, and Young Ho, a man who
is content just to find the woman of
The central character in Nymph And
The Con Artist, Jae Kyung, has an
outstanding memory and enough fake
IDs to keep his career as a criminal
going until he meets his true love. But
there’s a catch – Jae Kyung’s beloved
turns out to be the daughter of one of
SBS is also showcasing Love Of
Thousands Of Years, a 20-episode
series about past lives – and a love
that survives 1,400 years to come
alive again in the 21st century.
Pororo, The Little
Michel, The Little Guardian is a humorous
action-adventure tale targeting six- to 13-yearolds. Michel lives on a mysterious island with a
colony of fairies, who have the power to
maintain harmony. But then villainous Black
Hammer invades the island, kidnaps the fairies
and wreaks havoc on the world. Michel’s quest
is to rescue the fairies, and to help them restore
beauty and harmony.
In Spheres, Nayon and her pet flying squirrel come from an ancient
civilisation that possessed superhuman psychic powers. Frozen in time for
thousands of years, the two are discovered at the South Pole. But Nayan
must relearn how to use her special powers in the new world in which she
has been re-awakened.
Mixing education with entertainment, Pororo, The Little Penguin introduces
four- to seven-year-olds to his collection of zany friends, which include Poby
the polar bear and Loopy the do-gooder beaver.
MARTIAL arts, soccer and the
conflicts of a young monk are a
few of the themes preoccupying
Synergy Media, which buys, sells
and licenses programme rights.
Synergy’s line-up of animation,
feature films and entertainment
programming for BCWW includes
the animation series Soccer Boy
Toto (26 x 25 mins), a modern scifi tale that mixes sport with
adventure. When a major dispute
over Oranium ore – the energy
source of the universe – erupts,
the 12 planets that make up
Soccer Boy Toto’s world solve the
problem by holding football
competitions to determine who
gets the most Oranium.
Synergy’s BCWW’s slate also
includes the animation series
Ki-Fighter Taerang (26 x 30 mins),
set in the empire of Taekwondopia.
Soccer Boy Toto (Synergy Media).
The plot follows Taerang and his KiFighter comrades, who are locked in a struggle with the evil Hazzard, who is trying
to take over the world by using dark spiritual powers and magic.
In A Little Monk, one of Synergy’s latest feature films, a child monk is torn
between two worlds: the silent and lonely life of the temple and the lively world
of the village at the base of the mountain where he lives.
FOOD FOR THOUGHT
WHAT SHOULD we be eating?
The South Korean distribution
company A-9 Media’s latest
release, Food For Mediation,
includes a few tips on the
subject from none other than
Filmed in high definition, the
documentary looks at the diets
of various Buddhist monks
living in the temples of South
Korea. For example, although
the monks use herbs as side
dishes, they do not eat such
spicy foods as green onion,
garlic, leek and ginger.
A-9 Media’s programming
mainstay consists of short
clips and documentaries. The
company has an archive of
some 7,000 clips on a wide
range of topics, including
funny and weird people, as
well as a slate of around 20
documentaries. AT BCWW, A-9
Media is also showcasing VJ
Commandos, which consists
of short clips of the hottest
new trends in South Korea.
KICKING OFF SALES
LATIN American football your thing? If so, check out Malaysian-based Total Sports
Asia, which is at BCWW with a slate of available rights still to be had from soccercrazy South America.
Total Sports Asia is selling the rights on behalf of Brazil’s Traffic Sports Marketing.
Although most of the South American World Cup qualifying games have been
taken, the South Korean rights are still available to Copa America 2004, as well as
the South American pre-Olympic qualifiers, the CONCACAF World Cup qualifiers
(except the Mexico and US home matches), the Copa Libertadores and the
Football legend Ronaldo in
action (Total Sports Asia).
According to Julian Jackson, head of TV sales and marketing for Total Sports Asia,
the company is also aiming to place the weekly half-hour soccer programme,
Football Week UK, which it represents for Granada Sports in the UK. Football Week
provides the latest insider news on the UK football scene. “It is targeted at the
punter in everyone, and contains round-ups and exclusive information about the
players and the teams,“ Jackson adds. “Football Week goes behind the scenes of
the UK game, interviewing the players, the managers, the coaches and the fans.”
MALAYSIA’s Teleview Asia – an exclusive sales agent
representing independent film, TV producers, homevideo companies and special-interest products – is
offering a raft of new Thai drama series at BCWW.
Heading the slate is Heaven Meets Earth (15 x 60 mins),
in which Pim, a famous Thai actress on location in New
Zealand, meets Chen, a man who is half Thai and half
Kiwi. Love is in the air – but so, too, are complications
when Pim’s fiancee Paul appears on the scene.
Not enough love or intrigue? Then try a sip of Soda
Soda and Iced Tea
And Iced Tea (15 x 60 mins)... Despite unwilling
parents and some heavy odds, true love blossoms
between Atom, an unfashionable teacher, and Pattaya, a rich playboy.
Meanwhile, the question of whether fate can be controlled is the theme of
Phoenix Blood (25 x 60 mins), in which a mother tries to change the fate of
her daughter by exchanging her child with the daughter of a rich family.
Trouble lies ahead, however, when the mother and changeling daughter find
themselves working for the very same rich family...
JOIN CARLTON’S CLUB...
IF IT’s passion, commitment, adventure or heroics you’re after, look no
further than Carlton International
Media’s latest titles. The Carlton slate
includes Innovation (8 x 60 mins),
which takes a look at some of the most
prominent engineers and researchers
in the world. The series considers the
challenges that these scientists
overcome, and the impact that their
inventions have on both society and
our everyday lives.
Another Carlton priority is The Ancient
Greek Olympics (2 x 60 mins), which
celebrates the Olympic Games’ return
to Athens in 2004. The series uses
historical research, reconstructions,
and contemporary and archive footage
to highlight the contrasts and similarities between the ancient Greek
ritual and the modern games. The
series was produced by the awardwinning film-maker Antony Thomas
Carlton’s slate also includes a specially
televised version of award-winning
choreographer Matthew Bourne’s
interpretation of Tchaikovsky’s classic
ballet, The Nutcracker. The 95-minutes
ScreenStage Production for the BBC
tracks Clara’s magical journey, which
starts at Dr Dross’ orphanage on
Christmas Eve and continues through
Sweetieland, the Icecapades and a
kaleidoscopic fantasy world of Busby
WHAT IS in Coca-Cola that makes it the world’s most popular brand of soft
drink? Many have tried to find out – among them the loveable characters in
the 3-D clay animation Egg-Cola, being showcased at BCWW by the South
Korean company Independence. A humorous story about adventure, love,
friendship – and petty theft – the 90-minute animation follows a daring
attempt to steal the recipe for Coca-Cola.
Independence reports that Egg-Cola has been in demand on the festival
circuit in both Europe and the US. In the past two years, it has been
screened at the Siggraph Electronic Theater in Boston, Spain’s Art Futura
and Italy’s Future Film Festival.
LOVE FOR SALE...
HONG Kong‘s Regentact Company is showcasing a raft of
titles at BCWW. Headlining the slat is Flying Dagger, a 40episode series in which Lee is chased by Moon for stealing.
The two fall in love – but the plot thickens when Moon realises
that her father has been killed by Lee's father.
The course of true love is also bumpy in the series Summer
Scent. Pan is in love with Hoi, her best friend – but when her
love is unrequited she turns to Chun. Hoi then realises that,
deep down, he really loves Pan and embarks on a campaign to
woo her back. This, understandably, does not please Chun...
Flying Dagger (Regentact).
AS ONE of the major sources of
creative product in South Korea today,
the Korean Independent Producers
Association (KIPA) needs little
introduction. Not only has the number
of KIPA members soared to 102 over
the last year, but much of the product
produced by these companies is
achieving successful ratings for
major broadcasters across Asia.
KIPA members are expected to benefit
from the 2005 launch of a new South
Korean terrestrial channel, which is
expected to cater to the independent
sector. The channel, according to
South Korea’s culture minister Lee
Chang-Dong, will be run along the
lines of the UK's Channel Four.
Kim Dong-Sung, president of KIPA’s
directors’ school, notes that the
programming for the new channel “will
be out-sourced”, with as many as 200
companies in the independent sector
contributing. One of the independent
sector‘s major missions, Kim adds, is
to find co-production partners to help
meet the growing demand for local
production in South Korea.
Among the product being showcased
at BCWW under the KIPA umbrella is
the 3-D animation P3K-Pinnochio 3000.
In Regentact's The Legend Of Treasure Basin, meanwhile,
Sham lifts himself out of poverty to become a wealthy and
successful businessman. And in Power King, Lik takes up
boxing to earn the money he needs to establish his own
school. But to make his dream come true, he must take on an
Merchandising is unveiling
six children‘s titles at
animation through puppetry
to educational programmes.
In the 26-episode animation
Blinky Bill III, Blinky, Flap
and Nutsy spend a day at
the circus, where they are
Blinky Bill III (EM.TV & Merchandising)
horrified at the way the
ringmaster and his brother mistreat their animal performers. The three
begin a rescue operation that takes them around the world in their efforts
to return the creatures to their original homes.
In Bambaloo – a puppetry show featuring live presentation – both humans
and Muppet-style puppets help children to explore the world through
stories, music and games, all the while singing and dancing to the latest
In the animation adventure Timm Thaler (26 x 24 mins), Timm helps his
friend Akiko to see again by selling his laugh to the evil Baron Lived. But
when Akiko regains his sight, Timm loses his smile. So begins a magical
quest to bring back Timm's joy...
EM.TV‘s education programming includes The Hoobs (250 x 24 mins), who
are friendly, inquisitive creatures who hail from Hoobland. Their mission in
life is to compile the ultimate Hoob encyclopaedia. Other animation titles
from EM.TV include F.T.P.D. II – Fairy Tale Police Department II (13 x 24 mins)
and The World Of Tosh (26 x 24 mins).
Expand your database
The TBI Yearbook 2004 edition
• Expand your client base • Cover more territories • Increase your sales
For further information call +44 (0)20 7017 5537
email [email protected]
or visit www.informamedia.com/tbiyearbook
To register for TBI magazine visit http://bookshop.informamedia.com/tbisubs
BUYING INTO ASIA
What's on acquisitions executives' shopping lists
for BCWW? The answer, Marlene Edmunds
discovers, is everything – from much-talked-about
South Korean drama through hot Japanese anime
to classic British period pieces.
AN ACQUISITIVE STREAK
IAOYIN WEI, president of the
Chinese company Ways
Media International, is typical
of many of the buyers making their
way to BCWW from around the
globe. Her wish list runs the gamut,
from science and educational
programming, through quality TV
dramas and TV movies, to animation
and music concerts. Wei's company
buys for a raft of clients in China,
including TV stations and homeentertainment companies.
Buyer for China – Xiaoyin Wei,
president of Ways Media
The recent changes to China's
media landscape have had some
influence on the tastes and
demands of Chinese companies.
“Content is now much more liberal
than it once was,” Wei says. “People
can see many more pure
entertainment programmes – and
even comedy shows, such as The
Funniest Home Videos. While there
is still censorship, it is pretty much
directed at pornography and
violence. And the market for that, at
any rate, is very small.”
In Wei’s opinion, China's more
relaxed stance on censorship is a
natural progression. “People can get
a lot of what they want on the
internet anyway,” she points out.
“So, unless there is a compelling
reason for censoring a programme,
there is little point in not delivering
what the viewers want to see.”
MEANWHILE, South Korean drama
is grabbing hearts and headlines
across Asia. Indeed, series like KBS‘
Winter Sonata are so popular that
they have created a mini tourist
boom, with the fans flocking to
South Korea to see where the
dramas are shot. But some buyers
remain hesitant. “Asian product,
particularly Korean drama, is
starting to catch on, but we still buy
most of our programming from
Europe and North America,” says
Atsushi Takahashi, president of
TokyoVision. "However, the growing
popularity of South Korean dramas
is one of the reasons we have
increased the number of hours we
are buying from Korea and why we
are going to BCWW.“
Takahashi buys for Japan’s main
commercial channels, including
TBS, TV Asahi, Fuji TV and Nippon
Television Network. Again, his
shopping list spans all genres:
children‘s, sports, drama, historical
Creating emotional turmoil across
the Far East – Winter Sonata.
and documentary programming. But
at BCWW, Takahashi is prioritising
TV movies. “It's our job to get the
best price we can for our clients, so
we are looking for programming that
is good but that is also competitively
priced,” he says. “South Korean
drama is very expensive. However,
given its appeal, I could be tempted
to pick some up.”
VINCE Chin, a buyer for the
Malaysian company Multimedia
Entertainment, has no ambivalence
about her mission at BCWW. And it
is a tall order she has to fill: Chin is
shopping for as much as 200 hours
of South Korean drama. “Our clients,
which include both the free and payTV companies in Malaysia, are really
keen on Korean drama,” she adds.
“The storylines and, particularly,
some of the stars are what appeals
about these series.” Among the
titles that have wowed viewers in
Malaysia are KBS’ First Love.
Chin notes, however, that the cost
of South Korean product poses
problems: “The license fees have
risen incredibly since last year. While
our clients are still willing to pay the
price tags, there may come a day
when these dramas simply become
BUT South Korean drama still
programming on Singapore terrestrial television, according to Soo
MediaCorp TV's Channel 8. She
BUYING INTO ASIA
good feedback,” she says. “We have
also packaged a number of critically
acclaimed Asian movies – such as
Friend, Hi Dharma and My Wife Is A
Gangster – under the brand Super
Movie Fan Club. Again, this initiative
has received very good feedback
from our viewers.”
Major Japanese Buyer – Atsushi
Takahashi, president of
adds that her channel is still focused
on local productions, such as the
ratings hit Holland V. ”Local fare
brings in the highest number of
viewers,“ Ho says. ”And as the
most-watched TV channel in
Singapore, we try to cater to our
audience's needs.“ At BCWW, she is
hunting for entertainment programmes, especially drama serials
and TV movies.
In addition to local programming, Ho
reports that Channel 8 also
schedules Taiwanese, Hong Kong,
Chinese, Japanese and South
Korean drama in different time slots.
“For example, we just launched
Bright Girl Success on Monday and
Tuesday at 22.45 and received very
Elsewhere, Hyun Joo Lei, acquisition manager at the eight-year-old
South Korean cable and satellite
broadcaster JEI23 TV, says she picks
up six to 10 titles a year during her
global shopping sprees, all aimed at
children aged between three and
13. But her wish list is primarily
centered on Japanese and western
animation for older children, and
western programming for the
younger set. Lei says that the sixhour Nickelodeon branded block of
favourites, which includes Rugrats
and The Wild Thornberry’s, has
worked very well for JEI23 TV. Other
successful titles include Maggie
And The Ferocious Beast, Timothy
Goes To School and Time Detective
THE Tooniverse Channel is among
the largest of the outlets owned by
South Korea's growing On Media
Group. Although the channels’
major target group are seven- to 13year-olds, head of acquisitions and
sales, Dae-Chang Kim, notes that he
is very conscious of both preschoolers and teens when he is
Can imports beat the local
competition, such as Singapore’s hit
shopping for programming. He adds
that teens and a surprising number
of adults “continue to show loyalty
to Tooniverse”, whose reach is some
8.3 million viewers.
Kim will be focusing on Japanese
animators at BCWW. “We have good
contacts with all of the licensors,”
he says, adding that, with the
increase in number of animation
channels in South Korea, there is
also an increase in competition for
But, the Tooniverse executive
cautions, interest is waning in
animation merchandising. He admits,
however, that this turn of events that
is somewhat comparative: “It’s
pretty hard to compete with the
massive merchandising successes of
Pokomon and Digimon. Now, some
animation fans are also defecting to
the internet and games.”
SPOTLIGHT ON SUNMEDIA
Catering to her audience’s needs –
vice-president of Mediacorp TV’s
SUNMEDIA buys an average of 500 hours of programming a year for
its channel clients in South Korea. The company’s acquisitions
manager, Ji-Soo Lee, says that a special request from one of
SunMedia clients has kickstarted a quest for sitcoms and drama
targeted at women. However, the distribution company is also on the
hunt for light entertainment, games, films and wildlife documentaries.
Lee notes that Japanese drama is also looking interesting – partly
because, until recently, trade restrictions have prevented the
importation of Japanese programming into South Korea.
participation and sponsorship
How do I exhibit? How do I register? Where can I advertise? The following is a summary of the most
important points with respect to your attendance at the BCWW 2003 Media Market (November 19-21,
2003). If you have further questions or need assistance then please contact Rachel Kim at the numbers
1. How to Exhibit
At BCWW 2002 there were 205 exhibiting companies from 16 countries, 645 buyers and 5,848 delegates.
Exhibiting is still the most efficient way to schedule meetings with buyers, attract the attention of passing traffic,
and screen your programmes in the comfort of your own stand.
Exhibitors have the choice between renting a TURNKEY stand (booth) with everything provided, or to rent RAW
SPACE and construct their own stand.
Type of Stand
Early Bird Price *
Turnkey Stand – 1 Basic Booth Unit (3m x 3m)
Turnkey Stand – 1 Supplementary Unit (3m x 3m)
Raw Space – (3m x 3m).
TURNKEY STAND – The price of the Basic Booth Unit includes the 1 Round Table, 3 Chairs, 1 Info Desk, 3 Lights,
1 Kw of Electricity, Carpeting, Facia Board with your Company Name, Insurance, a 29” Flat Television with Stand
and a Multi-System Video Player. The price also includes the registration fee for 3 delegates. The Supplementary
Unit includes the same items listed for the Basic Booth Unit, but with the exception that an additional Television
and Video Player are NOT included. RAW SPACE – Exhibitors must book a minimum raw space area of 36 m2.
The price for each 9m2 includes the registration fee for 3 delegates, but does not include any furniture or audiovisual equipment.
STAND APPLICATION & PAYMENT – The deadline for reservation and payment is Friday, October 31, 2003.
Space will be allocated on a first come-first served basis.
2. How to Participate as a Delegate
The Early Bird* registration fee is US$ 100 per Person (US$ 150 after this deadline). The registration fee includes
access to all 3 days of the BCWW 2003 exhibition and conferences (November 19-21, 2003). Press and Media
delegates should contact the main office of BCWW 2003 for media accreditation; a copy of a valid Press ID will
*Please note that the Early Bird Registration Deadline is September 30, 2003.
3. Advertising & Sponsorship
a) BCWW 2003 Guide & Directory
b) BCWW 2003 Advertising Panels/Banners
An indispensable reference tool which lists all the
exhibitors and delegates (including buyers and press)
attending BCWW 2003.
BLEED SPACE (w x h)
Black and White
(15cm x 21cm)
1 double page
(2x (15cm x 21cm)) US$ 2020
(15cm x 21cm)
1 double page
(2x (15cm x 21cm)) US$ 3500
Strategically located throughout the ICC
exhibition and conference areas.
SIZE (w x h)
Type A – 600cm x 250cm
Type B – 600cm x 90cm
Type C – 330cm x 250cm
Type D – 120cm x 180cm
For sales enquiries and further details of other sponsorship items, please contact Rachel Kim (Int’l Business
Manager) at [email protected] Tel. +82.2.3446 3912, Fax. +82.2.3446 3913.
travel and accommodation
Located off the southern tip of the Korean peninsula, Jeju-Do is the largest of the many islands that
dot Korea's coastline. Newsweek magazine once described Jeju Island as the “Island of the Gods”
and raved about its people, culture, seafood, climate, beaches, golf courses, horseback riding, hiking
trails, sport fishing grounds and volcanic peaks and craters. Others have been merely content to
pronounce Jeju as the “Bali of North Asia” or the “Hawaii of the Orient”.
Whichever sobriquet you may choose for Korea’s biggest and most famous island, the aquaturquoise waters plus sub-tropical climate have long ensured Jeju’s enviable position as a top
vacation spot for many Korean and Japanese holiday makers. Today, with its first-class infrastructure
and some of the best convention facilities in the world, Jeju Island can rightly claim to be one of the
top conference and exhibition centres in the Asia-Pacific region.
The two Korean airlines (Asiana
Airlines and Korean Air) offer direct
flights to Jeju Island from China
(Beijing and Shanghai) and Japan
(Fukuoka, Nagoya, Osaka, Tokyo).
However, most international delegates
will arrive at Incheon International
Airport (IIA) which is approximately 60
km (37 mi) from the capital city of
Seoul. Here you will need to clear
immigration and customs. Whilst
there are a limited number of flights
from IIA to Jeju International Airport,
most passengers will need to transfer
to Gimpo Domestic Airport (formerly
known as Kimpo airport). There is a
non-stop limousine bus service to
Gimpo which leaves from the front
entrance of IIA at bus stops 3B and
10B every 5-10 minutes. The journey
takes around 35 minutes, and the
service runs between 05:40 and
22:40. The fare is KRW 6,000 per
person (about US$ 5) and tickets can
be bought at the Transportation Information Counter (near exits No. 2, 4, 9 and 13) on the arrival floor (1st floor) of
the passenger terminal.
There are approximately 40 flights per day to and from Gimpo Domestic Airport and Jeju International airport, and
the flight time is around 1 hour.
Once you arrive at Jeju International Airport, you will need to make your way to Jungmun Resort area which is where
the International Convention Center plus surrounding hotels are located. Jungmun is located on the southern tip of
Jeju Island, just west of the city of Seogwipo.
The fare from Jeju International airport to any of the hotels in the Jungmun Resort area is fixed at KRW 25,000 (about
US$ 21.-), and the journey takes around 35 minutes.
The Limousine Bus No. 600 leaves Jeju International Airport every 15 minutes, at a quarter past the hour, in the
direction of Jungmun resort. The journey takes around 50 minutes, and the fare is KRW 3,500 (US$ 2.5). The No. 600
bus stop is located on the left hand side when exiting Jeju Airport, and the bus stops at all the major hotels in the
The Jungnum Resort Complex has a wide range of accommodation which caters to all budgets. The “Travel
Info/Accommodation” section of the BCWW website offers a brief overview of the following 8 hotels: Hana
Hotel, Hotel Green Villa Jeju, Korea Resort Condominium, Lotte Hotel Jeju, The Shilla Jiju, Hyatt Regency Jeju
and Hotel Sea Village. More information on these and other hotels in the vicinity can be found at online travel
sites such as www.budgethotelasia.com, www.eworldhotels.net, www.expedia.com, and www.lifeinkorea.com,
some of which also offer very competitive rates.
Korean Won (KRW) US$ 1 = KRW 1,170; EUR 1 = KRW 1,270 as of September 15, 2003
Average temperature in mid-November is 12.4ºC (54.3ºF), with an average rainfall of 87.4 mm (3.4 inches)
Most foreign visitors are allowed to enter Korea without a visa, as long as they have a valid passport,
confirmed outbound air ticket, and generally intend to stay for less than 30 days (Please go to
http://english.tour2korea.com/coming/essential/entry.asp for more detailed information). Visitors from
the following countries must have a visa to enter Korea:
ALBANIA, ARMENIA, AZERBAIJAN, BELARUS, BOSNIA-HERZEGOVINA, CAMBODIA, CHINA P.R., CUBA,
GEORGIA, GHANA, INDIA, IRAN, KAZAKHSTAN, KYRGYZSTAN, LAOS, MACEDONIA, MOLDOVA,
MONGOLIA, MYANMAR, NEPAL, NIGERIA, PALESTINE, PHILIPPINES, RUSSIA, SRI LANKA, TAJIKISTAN,
TURKMENISTAN, UKRAINE, UZBEKISTAN, and VIETNAM.
For further information, please consult your travel agent or contact the nearest Korean embassy or consulate.
All passengers departing from Korea's international airports are subject to an airport tax of KRW15,000
(about US$ 12.5). A domestic airport tax of KRW 4,000 is levied on all domestic airline passengers,
although this fee is often included in the price of the domestic air ticket.
RECENT NAME CHANGES
Korea recently made several significant changes with respect to how Korean is transcribed into Roman characters. Although
these changes took effect in 2000, it is still common to come across different spellings of the same word. In any event, the
chart below should help when reading maps and using the Internet in English.
P to B
K to G
Ch to J
T to D
o to eo
Pusan is now Busan, Pundang is now Bundang
Kwangju is now Gwangju, Kimpo is now Gimpo, and… Kimchi is now Gimchi
Cheju-Do is now Jeju-Do
Taegu is now Daegu, Taejon is now Daejon
Chongju is now Cheongju, Inchon is now Incheon
Korea National Tourism Organization: http://www.tour2korea.com
This multilingual website (Chinese, English, French, German, Japanese, Korean, Russian, and Spanish) is an
excellent introduction to Korea, its culture, and Jeju Island in general.
Jeju Net: http://126.96.36.199/n_eng/Jeju_Main/menu/index.asp
The official site of Jeju Province. Accessible in English, Chinese, Japanese and Korean, this site is easy to navigate
and is packed with useful information on travelling to and from Jeju Island, local accommodation and restaurant
guides, as well as interesting tourist information. There are links to local Weather reports (short term and 5-Day
forecast), current Exchange Rates, plus a direct link to International Convention Center (ICC Jeju).
Also worth checking out are:
Jeju Information Network: http://www.chejuinfo.net/index_e.html
Life in Korea: http://www.lifeinkorea.com/travel2/cheju