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Indieground is a space established by the Korean Film Council in August 2020 to improve the marketing and distribution environment of Korean independent art films. The Association of Korean Independent Film & Video is in charge of the operation. As its name suggests, Indieground moves in all directions to strengthen the 'ground' of Korean independent art films. With the keyword 'Independent Art Film,' it is carrying out various projects such as online streaming of Korean independent art films, business matching between creators and distributors, educating independent film experts, supporting youth film education, supporting community cinema, and finding audiences, etc. After serving as Secretary-general of the Association of Korean Independent Film & Video, Lee Jiyeon joined Indieground and has been leading the center since this year. Let's hear about Indieground's past one year and a half and its future from her.

- Did you plan an online-oriented platform like this before COVID-19?

= It was the time when the pandemic began in earnest when we first prepared for Indieground. Also, it was the time Korean independent art films already in poor conditions had to face an environment they had never experienced before. The situation was even harsher for Korean independent films that used offline-based networking as a critical resource. So, we hoped that the newly built platform in such a crisis would be a helpful testbed that could improve the difficulties of the field. We built the database on Koran independent art films that had not been established through online platforms. Furthermore, we've supported Korean independent art films, which have built an offline network, so that they do not shrink under harsh conditions.

- Tell us how you evaluate the past projects in each field, such as the project to support online marketing and distribution of Korean independent art films, the project to support network activation, the project to spread social values, and the project to train audiences and professionals for marketing and distribution.

= To solve the comprehensive task of 'activating the marketing and distribution of Korean independent art films,' it is crucial to check the overall marketing and distribution environment and organically support the members in the ecosystem. Therefore, the project scope of Indieground is quite wide, and it is underway to increase the sustainability and resilience of Korean independent art films through support and networks by area and section. As the projects progress, we're checking the feedback from the field on the importance of the role of Indieground.

- Tell us about the response and evaluation of streaming services. 

= When we opened the streaming service of the entire films and videos in the library, we received very hot responses. After the streaming service of the entire work, we conduct the streaming services subsequentially in the form of the planned exhibitions. The streaming service Indieground offers aims to provide 'curation' beyond simple movie screenings and provide additional videos and educational materials to increase the likability of Korean independent art films.

- Technical supports seem to be important to obtain and utilize data through the platform.

= Since Indieground was established by the Korean Film Council and is in line with the online policy of the Council, we continue to propose and discuss necessary parts to the Council. Currently, we don't have a proper database for the marketing and distribution of Korean independent art films only. To improve the environment, it is crucial to supply and demand related data and prepare strategies through it.

Independent Film Matching Project: Next Link 2021  

- Tell us the results of the first year of the Independent Film Matching Workshop: First Link, which supports the distribution of Korean independent films and overseas expansion, and the Indieground Distribution Academy, which trains the personnel for distribution, promotion, and marketing.

= From the establishment of it to the present, we have conducted a total of three Independent Art Film Biz Matching (Next Link, First Link) and two distribution academies. We keep confirming the continuous demand on the biz matching project and the distribution academy, targeting independent art films only. Distribution and release of the films that participated in the project are taking place, and the academy graduates are also working actively in distributing agencies, public relation firms, and marketing companies. 

- The 'Indie Flex' Tumblbug Fund, which sells tickets available at independent art film theaters, was successfully carried out, surpassing 320% for the first and 293% for the second. Tell us about the planning background and the next plan of 'Indie Flex.'

= 'Indie Flex' is a campaign to revitalize independent art film theaters nationwide and a branding project to expand awareness of Korean independent art films. I was worried because the funding period was short due to the business schedule, but it turned out that not only the participation rate of funding but the actual use rate of tickets provided by funding was quite high. Above all, it is encouraging to hear the feedback that the audience could learn about the independent art theaters and films they didn't know before through 'Indie Flex.' Currently, it is a one-time campaign due to various restrictions, but in the long run, we hope that the integrated audience membership of independent art theaters nationwide will be established.

- Indieground is also related to the Independent Film Distribution Support Center, operated from 2007 to 2011. Tell us how you are using that experience.

= It is regrettable that the experience and achievements back then have not continued to this day. During the ten years from 2008 to 2017, film policies in Korea, including the blacklist issue, retreated. If the experience and achievements of the distribution support center and the film industry had been accumulated from 2011 to the present, it would have been able to have solid resilience in the current crisis such as Pandemic. So, I feel sorry about that.

- What kind of space do you want Indieground to be for independent filmmakers?

= While preparing for the projects this year, we held several meetings with the interested parties in the field. The crisis they feel in the field is extreme due to COVID-19. We also evaluated the roles of Indieground for over a year and a half and received high marks in the aspects such as 'empathy, expertise, communication, a place to lean on, communication window, and network restoration,' etc. Indieground is not an agency that conducts the marketing and distribution business directly. However, since it is an organization that shares experiences with the difficulties faced by the parties in the field and supports creating an alternative environment based on them, we hope that independent art filmmakers will continue networking through Indieground.

- Tell us if there will be changes in business plans after the Pandemic.

= Indieground was established in August 2020 and has been operating for one and a half years so far. During the period, various support projects are in progress, and the most important thing is the 'continuity' of the projects. In addition, it is essential to prepare data-based strategies for the offline ecosystem to break through the Pandemic without collapsing. This year, Indieground will continue to carry out support projects based on its achievements so far and make efforts to build a database on the marketing and distribution of Korean independent art films.

- Starting as a volunteer at the Seoul Queer Archive in 2000, you worked as a staff member of the Korea Independent Short Film Festival, the predecessor of the Seoul Independent Film Festival, and as Editor-in-chief of the Association of Korean Independent Film & Video from 2007. Tell us how you feel about the time you worked on the front line of the Korean independent film industry. 

= Since I love independent films and following what I love, it turned out that I've come all the way here naturally. Since it is such a long time, I've had many ups and downs as well as good moments, but thanks to the people who worry not only about Korean films but about Korean independent film environments and the people who make independent films, I think I am still working actively so far. I hope everyone will continue to work, staying healthy both in mind and body.