The South Korean Film Renaissance: Local Hitmakers, Global by Jinhee Choi

By Jinhee Choi

For the previous decade, the Korean movie has loved a renaissance. With cutting edge storytelling and visceral results, Korean movies not just were commercially attainable within the family and neighborhood markets but additionally have appealed to cinephiles all over the place at the overseas pageant circuit. This publication presents either an business and a cultured account of ways the Korean movie controlled to show an financial crisis--triggered partly by way of globalizing methods on the planet movie industry--into a economic and cultural increase. Jinhee Choi examines the ways that Korean movie construction businesses, sponsored through prosperous organizations and enterprise capitalists, concocted numerous profitable creation developments. via shut analyses of key movies, Choi demonstrates how modern Korean cinema portrays matters quick to its personal Korean audiences whereas incorporating the transnational aesthetics of Hollywood and different nationwide cinemas comparable to Hong Kong and Japan. Appendices comprise facts on field workplace scores, numbers of movies produced and published, marketplace stocks, and picture pageant showings.

Reviews

"Here is a wonderful e-book so as to add to the too-short shelf of labor at the cinema of South Korea, which of overdue has produced a few very good films.... Deftly illustrated with body blowups, and together with valuable appendixes charting box-office hits, movie construction total in South Korea, and award-wining movies, Choi's e-book offers an lively, available review of the Korean cinema as a favored artwork shape. an outstanding selection as both a direction textual content or a library source, this booklet fills a specific area of interest. hugely urged (for) all readers."--W.W. Dixon, Choice

"Choi's publication does admirably what it units out to do: to give an explanation for, from a theoretically severe, technical/aesthetic viewpoint, how Korean cinema modernized itself within the face of many demanding situations, either family and international."--Gord Sellar, The Japan Times

"South Korean movie Renaissance: neighborhood Hit Makers, international Provocateurs, written via Choi Jin-hee in English probes how the Korean movie became an fiscal obstacle right into a cinematic renaissance.... The booklet provides a precise old chronicled evaluate of the Korean movie industry"--Chung Ah-young, The Korea Times

"It's a well-roundsed exam that knits jointly the various filmic strands of the final twenty years to build a thesis on how the 'renaissance' occurred."--James Havis & Borah Chung, Cineaste

About the Author
Jinhee Choi was once expert at Seoul nationwide collage (South Korea) and accomplished a B.A. and M.A. in Aesthetics. She earned Ph.D.s—one in Philosophy and the opposite in movie Studies—at the collage of Wisconsin-Madison (United States) and used to be a postdoctorate/visiting professor in East Asian reviews and movie stories at Yale collage. She formerly taught at Carleton collage (Canada) and the college of Kent ahead of relocating to King’s university in 2011.

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Extra info for The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs (Wesleyan Film)

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Lack of an ample ancillary market is further considered another major prob24 THE SOUTH KOREAN FILM RENAISSANCE lem for the industry. The dvd market shrank by one third between 2001 and 2006. ∑≤ South Korea is a country where more than 80 percent of South Korean households have access to the Internet, and such prevalent illegal downloading deprived the industry of a crucial source of revenues. Most Hollywood majors folded their dvd branches in Seoul either by merging with one another or by teaming up with local companies.

Historic wars and espionage, more than anything, can easily lend verisimilitude to gunfights, especially since guns are banned in Korea. It is worthwhile to note that the North-South issue and the Korean War are not historic events only recently made available for the new generation of filmmakers to explore. ≤∂ For instance, in The Hand of Destiny (Han Hyeong-mo, 1954) female protagonist Margaret works as a spy for the North. She falls in love with Yeong-cheol whom she saves from accusations of being a thief.

Having distributed films such as Romance of Their Own (Kim Tae-gyun) and Taegukgi (Kang Je-gyu) in 2004 and produced domestic hits such as Marathon (Jeong Yun-cheol) and Welcome to Dongmakgol (Park Kwang-hyun) in 2005, Showbox has secured its status in the industry. ≥π In 2004 Park Chan-wook acquired Moho Film by purchasing a 55 percent share of its stock and produced Sympathy for Lady Vengeance (2005), the last installment of his Vengeance series. Kim Ji-woon founded Grim Pictures through an investment deal with Bareunson, a manufacturer of school supplies.

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