Important intangible cultural heritage resources refer to intangible cultural heritage resources that are deemed outstanding and are, for this reason, selected for protection by the government. Intangible cultural heritage resources include, among others, techniques and artistries transmitted from the past.

Documentation of Important Intangible Cultural Properties

The indigenous skills of master artists and artisans have been recorded in documentary films and books to educate their successors and build archives of traditional culture. Documentary films record the entire production process of each art, while books, under the title "Series on Important Intangible Cultural Heritage of Korea," contain detailed results of field surveys and related literature.

In 1995, the responsibility of documenting important cultural heritage resources was transferred from the Bureau of Cultural Heritage Administration (formerly named the Cultural Heritage Administration of Korea) to the National Research Institute of Cultural Heritage. The main method utilized to document these intangible cultural resources is by documentary filmmaking. Techniques, art forms and practices are documented as completely and exhaustively as possible. In order to enable a comprehensive understanding, many of the films contain reenactments based on information from both written records and orally-transmitted memories.

Production of Documentary Films

Documentary films on important intangible cultural heritage resources record historically-transmitted techniques and knowledge, and performances of traditional art forms and customs by their title holders, so that they can be preserved and passed down to future generations. Once the category to document is decided, experts in this field and a film production company are selected. Documentary films are directed and produced to completely document the process of fabricating tradi0tional crafts or the performance of a traditional art genre by the title holders of technical and artistic heritage. The steps in the production of documentary films are as follows:

(1) Production Planning

Before the production of a documentary film, a general concept is selected based on either research reports on a particular category of intangible cultural heritage or on an existing film on a similar topic. The plan for the overall composition of the film is drawn up by members of the National Research Institute of Cultural Heritage.

First, in the case of a skill or technique for making a traditional craft item, the entire production process is documented exhaustively, and performing arts is still a performance recorded in full time.

Second, documentary films, as they deal with techniques, art forms and practices that were passed down over many centuries, must provide the evolutionary history of the practice, offering an account that is meaningful from the perspective of cultural history and anthropology.

Third, the documentary films must record biographical details of title holders of intangible cultural heritage as thoroughly as possible, as well as the history of transmission, such as information on their mentors and apprentices.

(2) Selection of a Theme

The theme for a documentary film is selected by taking into consideration both the age of the title holder and the special characteristics of the category of intangible cultural heritage in question. Striking a balance between the technical and the artistic is also an important consideration. Priority is given to the categories described below:

First, categories of intangible cultural heritage whose surviving title holders are elderly persons and whose documentation is urgent for this reason;

Second, categories of intangible cultural heritage whose transmission to future generations is at risk; and

Third, categories of intangible cultural heritage newly designated as protected heritage resources by the government.

(3) Selection of an Advisory Panel

Experts in related fields are selected to create an advisory panel to supervise the shooting and editing of the film, as well as the sound recording. Experts are generally selected from among Cultural Heritage Committee members who have participated in the survey and research of the particular category of intangible cultural heritage concerned or in its review in designating it as Important Intangible Cultural Heritage.

For instance, an advisory panel member and the heritage title holder may be in discussion during the production of a documentary film on the traditional art of frame-making.

(4) Selection of a Production Studio

Production companies for documentary films on intangible cultural heritage resources are selected by the Public Procurement Service, through a restricted competitive tender process. Applicants are screened on the basis of their track records in documentary film production and sample films submitted for panel review. Three to four production studios are selected at a time, and a cap of three films per production firm and director is imposed.

(5) Writing and Reviewing the Script

A script for each of the documentary films sponsored by the National Research Institute of Cultural Heritage are written by professional documentary screenwriters. Screenwriters consult related literature including various research reports on the category of intangible cultural heritage concerned, meet with their title holders, and travel to locations when necessary to gather further information. Due to the fact that these films are documentaries recording the skills, techniques, knowledge and artistry of keepers of a given tradition, the continuity sketch is drawn up based on the draft scenario provided by the institute. The script is, in fact, finalized after the film is shot. Once the preliminary round of editing is completed, the script is finalized so that the video and audio match. The audio script, like the draft scenario, should contain information about crafts or arts demonstrated or performed in the film, as well as information about the life of the heritage holder and his or her mentors and mentees.

The production team of a documentary film on sobangjang (cabinet makers specializing in small tables or trays) is reviewing and discussing the scenario.

(6) Shooting

Documentary films on intangible cultural heritage holders (or holding groups or associations) are aimed at comprehensively documenting the process of making a craft or reenacting a performing art. Synchronous recording is used, for instance, to capture the complete reenactment as vividly as possible, using special equipment as needed, such as the OBvan and Jimmy Jib. Filming locations are most often the workshops or outdoor performing venues used by of heritage holders or groups. Ancient artifacts or books and documents, related to a documented tradition are filmed either in holding institutions such as libraries and museums, or in studios. Recording media used for filming, meanwhile, have become increasingly digitalized. Whilst 16mm films were the main recording medium used between 1965 and 1994, they were replaced, starting from 1995, by betacam, as that makes both shooting and editing easier. Since 2003, digibetacam has been used with digitalization reaching the next level. Compared to analog betacam, digibetacam better preserves the audio quality. The filming crew, led by the director, includes an assistant director, cameramen, sound and lighting technicians. The size of the crew, equipment involved, and the duration of filming vary according to the type of intangible cultural heritage. In the case of a craft tradition or performing art which can be reenacted by a single person, the size of crew, as well as the quantity of equipment tends to be smaller. As all reenactments are closely documented down to the smallest details, the shooting lasts from ten to twenty days. On the other hand, when the performing art must be reenacted by a group of people (three to forty), this requires a larger crew and special equipment like an OB van and Jimmy Jib. Multiple scenes are filmed simultaneously over a short period of three to five days.

Filming of an outdoor performance by a Gangneung-based peasant music band; In-studio filming of a demonstration of wooden tray-making; A printing block carver filmed in his workshop; Indoor filming of the performance by a Gangneung-based peasant music band; Synchronous recording of Pilbong peasant music; Synchronous recording of brewing beopju liquor according to the traditional recipe of an old family of Gyo-dong, Gyeongju; Photographing scenes of a reenactment of the Tongmyeong farming song of Yecheon

(7) Editing, Audio Recording and Premiering

The raw film must be edited in a way that fits the scenario and the continuity sketch. Advisory panel members and heritage title holders usually take part in the editing process. Once the editing is completed, the narration, based on the pre-prepared script, is dubbed by a voice actor. Sound effects and music suitable for the subject covered are added as well. The completed documentary film is then premiered before an audience consisting of both experts in relevant fields and the press, including the advisory panel members, and is edited again, if necessary, to reflect their feedback.

(8) Delivery and Distribution of the Completed Film

When the final version of the film is ready, the studio delivers, along with the original betacam version, two different edited versions: the full version which can last anything between one hour and six to eight hours, and a shorter version for public distribution, with a runtime of 30 minutes to one hour. The full version and the public distribution version are either in betcam, DVD, VHS or VCD. About 1,000 copies of the compact public distribution version are printed for distribution to public libraries and museums.