Directors Guild of Korea

KOREA

팝업레이어 알림

Introduction

The Directors Guild of Korea (DGK) was established to protect the rights of Korean film directors and
freedom of creation.

The Directors Guild of Korea (DGK), legally registered in the Republic of Korea as 사단법인 한국영화감독조합, is a nonprofit incorporated association.
Charity ID : 105-82-20985

In 2005, directors Kwon Chil-in, Park Chan-wook, and Ryoo Seung-wan served as co-representatives to announce the establishment of the Directors Guild of Korea. In 2013, director Lee Joon-ik, the fourth president of DGK, completed DGK’s incorporation as a nonprofit association.
DGK protects the rights of Korean film directors as authors of audiovisual works. We support directors and screenwriters in securing fair remuneration for their audiovisual works and screenplays, contributing to the development and cultural advancement of the film industry. DGK also works with related organizations in Korea and internationally to promote the rights of directors and screenwriters.

Through the DGK Director Contract, we help our members enter into fair and reasonable contracts, including provisions for minimum directing fees and running guarantees. We represent Korean film directors by providing legal counseling and dispute resolution support and by participating in policy discussions on issues affecting the film industry.

DGK also established and implements the “Stop. Support. Report.” code of conduct to help create a film production environment free from sexual harassment.

2026 DGK introduction [Download]

2025 DGK introduction [Download]

Our Rights

Act No. 15823, Oct. 16, 2018

(CHAPTER I) GENERAL PROVISIONS
(CHAPTER II) COPYRIGHT
(CHAPTER III) NEIGHBORING RIGHTS
(CHAPTER IV) PROTECTION OF DATABASE PRODUCERS
(CHAPTER V) SPECIAL CASES CONCERNING CINEMATOGRAPHIC WORKS
(CHAPTER V-2) SPECIAL RULES CONCERNING CINEMATOGRAPHIC WORKS
(CHAPTER VI) LIMITATION ON LIABILITY OF ONLINE SERVICE PROVIDERS
(CHAPTER VI-2) PROHIBITION OF CIRCUMVENTING TECHNOLOGICA
(CHAPTER VII) COPYRIGHT TRUST SERVICE
(CHAPTER VIII) KOREA COPYRIGHT COMMISSION
(CHAPTER VIII-II) KOREA COPYRIGHT PROTECTION AGENCY
(CHAPTER IX) REMEDIES FOR INFRINGEMENT OF RIGHTS
(CHAPTER X) SUPPLEMENTARY PROVISIONS
(CHAPTER XI) PENALTY PROVISIONS

Korea Copyright ACT.PDF [Download]

Protect Rights of Authors

Campaign 'Fair Remuneration KOREA'

Campaign

'Fair Remuneration Korea'

Domestic legislative lobbies and campaigns in progress
about fair remunerations for the authors

Currently, there is no remuneration for authors guaranteed by domestic law, therefore only overseas compensation is collected and distributed to domestic authors.

In order to resolve this inequality, DGK makes every endeavor in various ways to urge domestic legislation.

Study - Remuneration rights of Authors

Commissioned by the International Confederation of Societies of Authors and Composers (CISAC) and Writers & Directors Worldwide (W&DW), and supported by the Society of Audiovisual Authors (SAA), Written by copyright law specialist and Universitat Oberta de Catalunya Intellectual Property Chair Professor, Raquel Xalabarder, the study recommends an international legal framework for introducing an unwaivable and inalienable remuneration right for audiovisual authors. This would benefit all parties without impinging on the commercial exploitation by the producer. The framework proposed complies with international and EU copyright obligations.

Collection & Distribution

What is Collective Management?

Collective management is one option within the copyright system that requires or allows rights holders to administer their rights through a Collective Management Organization (CMO)
Managing copyright and related rights individually may not always be realistic. An author, director, performer or producer, for instance, cannot contact every single platform to negotiate licenses and remuneration for the use of their works. On the other side, it is not practical for a platform to seek specific permission from every author, performer and producer for the use of each work. CMOs facilitate rights clearance in the interest of both parties and economic reward for rights holders.

What is CMO?

Collective Management Organizations (CMOs) are, in most cases, not-for-profit entities; their legal form can be either private or public. Depending on the repertoire they represent, they can also be called Music Licensing Companies (MLCs), Mechanical Rights Organizations (MROs), Performers’ Collective Management Organizations (PMOs) or Reproduction Rights Organizations (RROs).
Various types of collective management approaches exist, including statutory/mandatory collective management, as well as contractual/voluntary collective management.

Why use a CMO's services?

Typically, a CMO :
MONITORS when, where and what works are used;
NEGOTIATES tariffs and other conditions with users;
LICENSES the use of protected works on behalf of its members and of other rights holders it represents; and COLLECTS the fees from users and DISTRIBUTES these to the rights holders.

What is 'Copyright Agency and Brokerage
Service' of Korea?

‘Copyright agency and brokerage service’ means a business which acts as an agent or a broker on behalf of the holder of economic rights of author, an exclusive right of publication, publication right, or neighboring right or a person who has the right as a database producer, regarding exploitation of works.

Documentaries

DGK represents 880 directors and screenwriters. We represent creators across various genres, including feature/short films, fictional series, variety shows, animation, and documentaries.

Popular works_DGK [Download]

Audiovisual

- Directors
- Screenwriters

Partners

Competent authorities

MCST
(Ministry of Culture, Sports and Tourism)

South Korea's Ministry of Culture, Sports and Tourism (MCST) is a central government agency responsible for the areas of tourism, culture, art, religion, and sports.

https://www.mcst.go.kr/english/index.jsp

International Governance

AAPA
(Alliance of Aisa-Pacific Audiovisual Writers and Directors)

AAPA is an international organization for representing the fair and independent voice of the audiovisual video creator community in the Asia-Pacific region and seeking ways to strengthen the copyright protection system of the audiovisual video creators in the region.

AVACI
(Audiovisual Authors International Confederation)

AVACI is integrated by the international societies and alliances that represent and/or manage the rights of Audiovisual works’ Authors, Screenwriters and Directors.

CISAC
(The International Confederation of Societies of Authors and Composers)

CISAC is headquarters are in Paris, with regional offices in Budapest, Buenos Aires and Singapore. It works towards increased recognition and protection of creators' rights.

W&DW
(Writers And Directors Worldwide)

W&DW is an international not-for-profit organisation that works to protect the rights of writers and directors working in the audiovisual, literary and dramatic repertoires.

IAF
(International Authors Forum)

IAF acts as an international platform, enabling its members to connect with each other develop their positions and receive support on authors' rights. IAF works in partnership with UN bodies such as WIPO and UNESCO to ensure authors are considered in the agenda of cultural programs and policy.

FESAAL
(Federation of Societies of Latin American Audiovisual Authors)

FESAAL brings together the Latin America Collective Management Societies author’s rights of Screenwriters and Audiovisual Directors , having its foundation in the city of Havana, Cuba, within the framework of the Annual Congress of Audiovisual Authors invited and hosted by the 40th International New Film Festival of Havana.

Societies