최근 상업주의 언론의 과도한 시장지향성이 저널리즘 기능수행을 위협하고 있어 본 논문은 시장지향적 언론의 형성 과정과 성격 및 특성을 한국과 미국 신문의 비교연구를 통해 고찰해보았다. 그 결과 시장지향적 언론은 상업적 언론에 내재해있는 이윤추구 속성이 경영 악화, 소유구조 변화, 경쟁 심화와 같은 경제적 조건으로 인해 노골적으로 강화되는 일반적 현상이라는 결론을 도출할 수 있었다. 또한 두 나라 신문 모두 광고수입 의존도가 높다는 점이 시장지향성을 강 화시켰다. 시장지향적 언론이 보이는 특성은 첫째, 최대한 많은 독자를 확보해 광고수입을 극대화하기 위해 독자지향적으로 뉴스를 제작한다. 둘째, 수익성을 높이기 위해 영 업과 편집의 통합화를 시도하는데 미국 신문이 마케팅 차원에서 접근하는데 비해 한국 신문에서는 영업활동에 편집국을 조직적으로 동원하는 행태를 보인다. 셋째, 언론의 공적 사명보다 사업적 이해를 우선하기 때문에 편집의 자율성이 침해되고 약화한다. 넷째, 시장지향적 언론은 광고주의 압력에 취약하고, 광고 수주에 도움 이 되는 방향으로 기사에 대한 내적 통제를 실시한다. 다섯째, 시장지향적 언론은 비용에 민감하기 때문에 취재보도 활동에 충분한 지원이 이뤄지지 않으며, 이에 따라 외부의 자료제공에 대한 의존이 높아지는 경향이 있다.

The trend of “Blockbuster Exhibitions” over the past decade has led to the unfortunate reality that museums, losing sight of their role as an Academic organization, are becoming increasingly influenced by the corporate world. In my dissertation entitled “The Commercialization of Blockbuster Exhibitions in Museums,” I explore the modern tendency toward Blockbuster exhibitions in art museums and the negative impact of those exhibitions on the art world. Museums of the modern day have expanded their territory from the traditional venue of public education to the hybrid cultural space. This mission, evident in the museum’s attempt to satisfy audiences with the offering of diverse activities, has changed the concept of the museum, giving priority to the desire for financial gain. From the viewpoint of this new museology, the museum considers Blockbuster exhibitions as the safest method to increase ticket sales. As a program that openly reveals the commercialism of the museum, I explore the Blockbuster show and its strategies as a means of exposing the influence of the corporate world on art. A key component to the Blockbuster exhibition is the “hype” that is created to attract an audience. This devotion to increased publicity distracts from what should be the goal of public education, as the primary focus leans towards the desire for a large number of visitors. Consequently, this unavoidably standardized exhibition is presented to the public in a manner that deprives the audience of a unique experience. With large crowds and increased ticket prices, it is difficult to form a genuine appreciation of the artwork. In addition to the profit gained by increased ticket prices and the commercial sales of “souvenirs” from the museum gift shop, Blockbuster shows are used as a means to attract the attention of corporate sponsors. As explained in my dissertation, the importance that the museum places on corporate sponsorship as a capital resource is evident, however the degree to which the museum allows itself to be influenced by the desire for capital gain poses a threat to its function as an academic organization. Circumstances in American museum history, in particular, have influenced the transition from academic resource to corporation within museology. In keeping with the nation’s tendency towards capitalism, art museums in the United States were initially established and developed by individual capitalists who applied principals of corporate operation to museum management. As a result, in modern days, We witness the influence of enterprise on museum programs. while corporate management may be able to guarantee immediate fiscal benefits, however, it is unable insure the future of the museum. In sum, my dissertation discusses the mechanism of the commercialized “Blockbuster Exhibition” and the impact that it has on the future of the museum as an industry. This research provides an opportunity to reconsider the role of the museum as an academic institution, particularly in regard to the need to decrease the capitalization of exhibitions and refocus their influence on the art world as an educational resource.