A Study on Affinity between the Representations of Protestantism and the National Policy Film Genres in Korean Film History

2021 ◽  
Vol 29 (1) ◽  
pp. 211-249
Author(s):  
Yuhee PARK
Keyword(s):  
National Policy ◽  
Film History ◽  
Korean Film ◽  
Film Genres

scholarly journals Non-Cinema, or The Location of Politics in Film

2016 ◽  
Vol 20 (1) ◽  
pp. 131-148 ◽  
Author(s):  
Lúcia Nagib
Keyword(s):  
Film History ◽  
The Other ◽  
The Real ◽  
Similar Idea ◽  
Life Itself ◽  
Film Genres ◽  
Genre Films

Philosophy has repeatedly denied cinema in order to grant it artistic status. Adorno, for example, defined an ‘uncinematic’ element in the negation of movement in modern cinema, ‘which constitutes its artistic character’. Similarly, Lyotard defended an ‘acinema’, which rather than selecting and excluding movements through editing, accepts what is ‘fortuitous, dirty, confused, unclear, poorly framed, overexposed’. In his Handbook of Inaesthetics, Badiou embraces a similar idea, by describing cinema as an ‘impure circulation’ that incorporates the other arts. Resonating with Bazin and his defence of ‘impure cinema’, that is, of cinema's interbreeding with other arts, Badiou seems to agree with him also in identifying the uncinematic as the location of the Real. This article will investigate the particular impurities of cinema that drive it beyond the specificities of the medium and into the realm of the other arts and the reality of life itself. Privileged examples will be drawn from various moments in film history and geography, starting with the analysis of two films by Jafar Panahi: This Is Not a Film (In film nist, 2011), whose anti-cinema stance in announced in its own title; and The Mirror (Aineh, 1997), another relentless exercise in self-negation. It goes on to examine Kenji Mizoguchi's deconstruction of cinematic acting in his exploration of the geidomono genre (films about theatre actors) in The Story of the Last Chrysanthemums (Zangigku monogatari, 1939), and culminates in the conjuring of the physical experience of death through the systematic demolition of film genres in The Act of Killing (Joshua Oppenheimer et al., 2012).

Im, Kwon-taek (1936--)

2018 ◽  
Author(s):  
Ryan Cook
Keyword(s):  
Korean War ◽  
Film History ◽  
Military Government ◽  
Korean History ◽  
South Korean ◽  
Fifth Generation ◽  
Box Office ◽  
Korean Film ◽  
New Korean Cinema ◽  
International Success

Im Kwon-taek, one of the most prominent South Korean filmmakers, helped to pave the way for the international success of the New Korean Cinema of the 1990s. He debuted in 1962 and first worked in commercial genres, reliably filling production quotas. His early work included action and Korean War films produced under military government policies that promoted anti-communist propaganda. During the 1980s Im made the transition to art films and gained international recognition. With his 1981 film Mandala, he became the first South Korean filmmaker to tour the international festival circuit. His 1993 film Sŏp’yŏnje [Sopyonje] about singers practicing the traditional pansori form of music, broke box office records in Korea. Exploring themes in Korean history and aesthetics, Im became a representative of the national cinema and his suffering heroines have been interpreted as symbols of the Korean nation. Im revisited the art of pansori in his 2000 film Ch’unhyangdyŏn (Chunhyang), a retelling of a story about love across social classes derived from the 17th-century pansori repertoire. A recurring subject in Korean film history, the story of Chunhyang had been adapted at least seventeen times. Im’s return to the subject echoed the ethnographic tendencies of China’s Fifth Generation filmmakers, whose work was similarly both national in inspiration and global in ambition.

The Beginning: Towards a Mass Entertainment

2017 ◽  
Author(s):  
Dong Hoon Kim
Keyword(s):  
Film History ◽  
Historical Background ◽  
Film Culture ◽  
Colonial Korea ◽  
Film Exhibition ◽  
History Of ◽  
Korean Film ◽  
Cultural Functions ◽  
Mass Entertainment ◽  
Colonial Government

This chapter examines early film culture prior to the 1920s in order to offer a detailed historical background for the book’s exploration of the major advancement of Joseon cinema since the late 1910s. The first half of the chapter critically scrutinizes socio-political and cultural conditions that influenced the formation of early film culture in pre-colonial and colonial Korea. Equal attention is given to the collective efforts of early film entrepreneurs and exhibitors in creating film exhibition sites, including movie theatres, defining social and cultural functions of theatre space for a society devoid of theatrical tradition, and cultivating film audiences. The second half traces the activities of the first film production entity of colonial Korea: the Moving Picture Unit (MPU) of the colonial government. The author’s attempt to uncover the forgotten history of the MUP ultimately reveals the problematic of Japanese and Korean film historiographies that have pushed this crucial film unit of the empire onto the margin of film history.

National Policy, Global Giants

2019 ◽  
Author(s):  
John Wormald ◽  
Kim Rennick
Keyword(s):  
National Policy
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