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 manageable within the household and nearby markets but in addition have appealed to cinephiles all over the place at the overseas pageant circuit. This booklet presents either an commercial and a cultured account of ways the Korean movie controlled to show an monetary crisis--triggered partly by way of globalizing tactics on this planet movie industry--into a financial and cultural growth. Jinhee Choi examines the ways that Korean movie construction businesses, sponsored by means of prosperous organizations and enterprise capitalists, concocted a number of profitable creation tendencies. via shut analyses of key motion pictures, 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 corresponding to Hong Kong and Japan. Appendices contain facts on field workplace scores, numbers of movies produced and published, marketplace stocks, and picture pageant showings.
"Here is a wonderful ebook so as to add to the too-short shelf of labor at the cinema of South Korea, which of overdue has produced a few first-class films.... Deftly illustrated with body blowups, and together with helpful appendixes charting box-office hits, movie construction total in South Korea, and award-wining motion pictures, Choi's e-book offers an lively, obtainable evaluate of the Korean cinema as a well-liked artwork shape. a superb selection as both a direction textual content or a library source, this publication fills a selected area of interest. hugely prompt (for) all readers."--W.W. Dixon, Choice
"Choi's e-book does admirably what it units out to do: to provide an explanation for, from a theoretically severe, technical/aesthetic perspective, 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 grew to become an financial main issue right into a cinematic renaissance.... The booklet provides a precise ancient chronicled overview of the Korean movie industry"--Chung Ah-young, The Korea Times
"It's a well-roundsed exam that knits jointly the numerous 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 used to be 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 college of Wisconsin-Madison (United States) and used to be a postdoctorate/visiting professor in East Asian experiences and movie reports at Yale college. She formerly taught at Carleton collage (Canada) and the collage of Kent sooner than 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)
S. military in South Korea. S. military base creates an acrobatic lizardlike monster in the Han River. S. military base in Seoul and ordered Korean employees to dump embalming waste down a drain. S. presence in Korea or interference with Korean social issues, which was viewed (in the eyes of many younger generations, including the 386 Generation) as the result of the country’s division after the Korean War. Why have North-South issues become such a popular topic for successful Korean blockbuster ﬁlms?
Showbox, founded in 2002, has emerged as a strong ﬁlm investment and distribution company. Showbox is a branch of Mediaplex, a distribution company and an afﬁliate of Orion, a Korean food company. ≥∏ 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.
Asako in Ruby Shoes (2001), a coproduction between Koo & Film (South Korea) and Shochiku Co. (Japan), ﬂopped at the box ofﬁce. ∂∑ Hollywood also emerged as a strong buyer for Korean products, purchasing remake rights to Korean titles. Miramax bought both the North American distribution and remake rights to My Wife Is a Gangster (2001); the remake rights for My Sassy Girl (2001) were sold to DreamWorks, and released under the same title in 2008 through Gold Circle Films and Twentieth Century Fox Home Entertainment and the gangster comedy Hi!