By Frances Gateward
Seoul Searching is a set of fourteen provocative essays approximately modern South Korean cinema, the most efficient and dynamic cinema in Asia. reading the 3 dominant genres that experience led Korean movie to overseas acclaim--melodramas, big-budget motion blockbusters, and formative years films--the members examine Korean cinema as undefined, artwork shape, and cultural product, and have interaction cinema's function within the formation of Korean identities.
Committed to upcoming Korean cinema inside of its cultural contexts, the participants learn feature-length movies and documentaries in addition to constructions and governmental rules on the subject of transnational reception, advertising, modes of creation, aesthetics, and other kinds of pop culture. An interdisciplinary textual content, Seoul looking out offers an unique contribution to movie reviews and expands the constructing sector of Korean experiences.
"Students and students are hungry for sturdy serious fabric on South Korean movies, and this booklet is a welcome contribution to this speedy transforming into region in movie studies." -- Corey ok. Creekmur, coeditor of Cinema, legislation, and the country in Asia
Contributors comprise Chris Berry, Robert L. Cagle, Diane Carson, Hye Seung Chung, David Desser, David Scott Diffrient, Linda Ehrlich, Frances Gateward, Myung Ja Kim, Suk-Young Kim, Darcy Paquet, Seung Hyun Park, Anne Rutherford, Chi-Yun Shin, Julian Stringer, and Hyangsoon Yi.
Read Online or Download Seoul Searching: Culture and Identity in Contemporary Korean Cinema (Suny Series, Horizons of Cinema) PDF
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Additional resources for Seoul Searching: Culture and Identity in Contemporary Korean Cinema (Suny Series, Horizons of Cinema)
This case demonstrates the nature of ﬁlm censorship in Korea where personal decisions of political authorities turned into ofﬁcial guidelines for ﬁlm regulation. Film censorship was ofﬁcially repealed at the end of 1996, when the Supreme Court judged that postproduction cuts are illegal under the Constitution. The invalidation of ﬁlm censorship resulted from the endeavors of the New Wave directors as well as the more recent ﬁlmmakers who made 16mm ﬁlms about contemporary social problems. After being released from prison, they began legal struggles with the censorship committee, submitting petitions to the Supreme Court.
In 1996, two powerful people in the ﬁlm industry were jailed for tax evasion and bribery. Koh commented that this might put the entire Korean ﬁlm industry on trial (32–33). 34 Seung Hyun Park 10. Faced by the possibility of national default owing to the deﬁciency of foreign currency, the Korean economy faltered and ﬁnally requested a bailout from the International Monetary Fund (IMF) on November 23, 1997. S. loan borrowed from the IMF in the following year, the newly inaugurated government under Kim Dae-jung helped Korea to recover economic stability and ﬁnally succeeded in repaying every penny to the IMF in September 1999.
They never worked together for ﬁlm production. Considering ﬁlm production an attractive business, they just tried to initiate it in a new situation. These corporations ﬁnanced nearly sixty ﬁlms between 1994 and 1996. 10 However, a few ﬁlmmakers have begun to consider ﬁlm export as a crucial revenue source, starting with the success of Why Has Bodhidharma Left for the East? (Bae Yong-kyun 1989) in Japan and The Gingko Bed (Kang Je-kyu 1995) in Hong Kong. The Gingko Bed was the ﬁrst Korean movie to become a big hit in Hong Kong and opened in more than three hundred theaters in China (Koh 51).