scholarly journals South Korean Film Festivals for Mobile Cinema: Sites for Cultural Translation or Vehicles for Segyehwa?

JOMEC Journal ◽  
2014 ◽  
Vol 0 (6) ◽  
Author(s):  
Gavin Wilson
Keyword(s):  
Cultural Translation ◽  
Film Festivals ◽  
South Korean ◽  
Mobile Cinema ◽  
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.

Cold War Cosmopolitanism: The Asia Foundation and 1950s Korean Cinema

2017 ◽  
Vol 22 (2) ◽  
pp. 281-316
Author(s):  
Christina Klein
Keyword(s):  
Cold War ◽  
Film Festival ◽  
Film Festivals ◽  
Korean Cinema ◽  
Major Objective ◽  
South Korean ◽  
Award Winning ◽  
Political Interests ◽  
History Of ◽  
Primary Instrument

Abstract South Korean films first became visible on the world stage in the late 1950s when they began to be exhibited and win prizes at international film festivals. Yi Pyŏngil’s The Wedding Day (1956) and Han Hyŏngmo’s Because I Love You (1958) were among Korea’s earliest award-winning films. These two films exemplify a postcolonial and postwar discourse I am calling “Cold War cosmopolitanism.” The cultivation of this cosmopolitan ethos among cultural producers was a major objective for Americans waging the cultural Cold War in Asia, and the Asia Foundation was Washington’s primary instrument for doing so. This article traces the history of the Asia Foundation from its inception in the National Security Council in the late 1940s through its activities in Korea in the 1950s and early 1960s. It pays particular attention to the foundation’s support for Korean participation in the Asian Film Festival. It offers a close textual and historical reading of Yi’s and Han’s films as a means of exploring how Korean cultural producers, acting as Cold War entrepreneurs, took advantage of the Asia Foundation’s resources in ways that furthered their own aesthetic, economic, and political interests.

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.

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