South Korean film: commercial success, full service cinema and the crisis-consciousness 1

2021 ◽  
pp. 209-222
Author(s):  
Andrew David Jackson
Keyword(s):  
Commercial Success ◽  
South Korean ◽  
Korean Film

Local Buzz, Global Pipelines and Hallyu: The Case of the Film and TV Industry in South Korea

2018 ◽  
Vol 4 (1) ◽  
pp. 33-52 ◽  
Author(s):  
Su-Hyun Berg
Keyword(s):  
Complex Dynamics ◽  
Public Support ◽  
International Markets ◽  
Global Market ◽  
Knowledge Flows ◽  
Creative Industries ◽  
South Korean ◽  
Korean Wave ◽  
Local Buzz ◽  
Korean Film

While the local buzz and global pipeline approach has provided a useful platform for understanding knowledge creation and diffusion in the creative industries, little attention has been paid to the complex dynamics of knowledge flows through time and space. This article examines how the dynamics of local buzz and global pipelines supported Hallyu (translated into English as the ‘Korean Wave’, which refers to the increased popularity of South Korean cultural goods outside of Korea) by analysing the Korean film and TV industry. It is argued that changes in extra-local knowledge linkages offer opportunities for the expansion of the industry, both in domestic and international markets. The main findings indicate that not only did the dynamics of local buzz and global pipelines reconfigure Hallyu but also public support policies, private sector’s exertion and increased demand in the global market promoted Hallyu.

scholarly journals The Role of Hegemonic Masculinity and Hollywood in the New Korea

2016 ◽  
Vol 5 (1) ◽  
pp. 52 ◽  
Author(s):  
Richard Howson ◽  
Brian Yecies
Keyword(s):  
Film Industry ◽  
Hegemonic Masculinity ◽  
Antonio Gramsci ◽  
Korean Society ◽  
South Korean ◽  
Hollywood Films ◽  
Post War ◽  
Korean Film ◽  
The Relationship

We argue that during the 1940s Hollywood films had an important role to play in the creation of a postwar South Korean society based on the new global U.S. hegemony. The connections between political and economic change in South Korea and socio-cultural factors have hitherto scarcely been explored and, in this context, we argue that one of the key socio-cultural mechanisms that supported and even drove social change in the immediate post-war period was the Korean film industry and its re-presentation of masculinity. The groundbreaking work of Antonio Gramsci on hegemony is drawn on – in particular, his understanding of the relationship between “commonsense” and “good sense” – as well as Raewyn Connell’s concept of hegemonic masculinity. The character of Rick in the 1941 Hollywood classic Casablanca is used to illustrate the kind of hegemonic masculinity favoured by the U.S. Occupation authorities in moulding cultural and political attitudes in the new Korea.

scholarly journals Postwar Korean Cinema

1996 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Korean War ◽  
Film Festival ◽  
Korean Cinema ◽  
Class System ◽  
Economic Miracle ◽  
South Korean ◽  
Agrarian Society ◽  
The Korean War ◽  
Korean Film

POSTWAR KOREAN CINEMA: FRACTURED MEMORIES AND IDENTITY IT IS generally agreed by South Korean film scholars that the Golden Flowering of Korean cinema took place in the turbulent 1950s after the end of the 1950-53 Korean War, amidst the rapid industrialisation and modernisation of a predominantly agrarian society based on a highly stratified class system. Like its highly reactive Hongkong counterpart, South Korean cinema acts as a sensitive reflection of the constant changes and upheavals -- both socio-economic and political. These include the liberation in 1945 from Japan, the Korean War, the 1970s economic miracle and the current traumatic transformations that are shaping this troubled peninsula. This year, the astute Asian programmer of the 20th Hongkong International Film Festival, Ms Wong Ain-ling introduced a total of 12 "Rediscovered Korean Classics," with 6 of them set in the 1950s and 60s, emphasising the important role of Korean women during these...

scholarly journals The New Zombie Apocalypse and Social Crisis in South Korean Cinema (translation into Russian)

Corpus Mundi ◽  
2021 ◽  
Vol 2 (4) ◽  
pp. 40-59
Author(s):  
Sung-Ae Lee
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Korean Cinema ◽  
Conceptual Metaphors ◽  
Social Crisis ◽  
South Korean ◽  
Cognitive Studies ◽  
Costume Drama ◽  
Korean Film

The popular culture version of the zombie, developed over the latter half of the twentieth century, made only sporadic appearances in South Korean film, which may in part be attributed to the restrictions on the distribution of American and Japanese films before 1988. Thus the first zombie film Monstrous Corpse (Goeshi 1980, directed by Gang Beom-Gu), was a loose remake of the Spanish-Italian Non si deve profanare il sonno dei morti (1974). Monstrous Corpse was largely forgotten until given a screening by KBS in 2011. Zombies don’t appear again for a quarter of a century. This article examines four zombie films released between 2012 and 2018: “Ambulance”, the fourth film in Horror Stories (2012), a popular horror portmanteau film; Train to Busan (2016) (directed by Yeon Sang-Ho), the first South Korean blockbuster film in the “zombie apocalypse” sub-genre; Seoul Station (2016), an animation prequel to Train to Busan (also directed by Yeon Sang-Ho); and Rampant (2018, directed by Kim Seong-Hun ), a costume drama set in Korea’s Joseon era. Based on a cognitive studies approach, this article examines two conceptual metaphors which underlie these films: the very common metaphor, LIFE IS A JOURNEY, and the endemically Korean metaphor THE NATION IS A FAMILY.

Kim, Soo-yong (September 23, 1929--)

2018 ◽  
Author(s):  
Ryan Cook
Keyword(s):  
South Korea ◽  
Korean War ◽  
Film Industry ◽  
Military Government ◽  
South Korean ◽  
North Korean Defectors ◽  
The Korean War ◽  
Youth Films ◽  
The 1960S ◽  
Korean Film

Trained as a filmmaker during the Korean War, Kim Soo-yong debuted in 1958 amid the South Korean film industry’s postwar recovery and became one of the representative Korean filmmakers of the 1960s. Under the film policies of Park Chung-hee’s military government, the film industry suffered from censorship and quotas. The literary film emerged as an important genre signifying quality and artistic merit. Kim’s 1965 Kaenmaŭl [Seaside Village] marked him as a leading director of literary adaptations, which account for half his prolific oeuvre of over one hundred films. Kim also worked in popular genres, including comedy, melodrama, youth films, and anti-communist films, but is remembered for films that display realist, non-paternalistic perspectives on postwar society. His 1963 film Hyŏlmaek [Kinship] depicted the generational divide among North Korean defectors living in poverty on the fringes of society in the industrializing South. Seaside Village provocatively took on the sexuality of widows in a fishing community and contained lesbian innuendos. Several of his films also demonstrated a formal modernism. The 1967 An’gae [Mist], regarded as one of his highest achievements, employs experimental montage and a temporally complex flashback structure. In later years, he has been credited with helping ease film censorship in South Korea.

Sign in / Sign up

Export Citation Format

Share Document