By Frances Gateward
Seoul Searching is a suite of fourteen provocative essays approximately modern South Korean cinema, the best and dynamic cinema in Asia. interpreting 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, paintings shape, and cultural product, and interact cinema's position within the formation of Korean identities.
Committed to imminent Korean cinema inside its cultural contexts, the participants examine feature-length movies and documentaries in addition to constructions and governmental guidelines when it comes to transnational reception, advertising, modes of construction, aesthetics, and other kinds of pop culture. An interdisciplinary textual content, Seoul looking presents an unique contribution to movie experiences and expands the constructing zone of Korean reviews.
"Students and students are hungry for reliable serious fabric on South Korean movies, and this e-book is a welcome contribution to this speedy growing to be zone in movie studies." -- Corey ok. Creekmur, coeditor of Cinema, legislations, and the country in Asia
Contributors contain 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 or Download Seoul Searching: Culture and Identity in Contemporary Korean Cinema (Suny Series, Horizons of Cinema) PDF
Similar film books
Is helping readers know the way the various languages of movie interact to create that means. Louis Giannetti organizes realizing videos round the key parts of filmmaking, together with cinematography, Mise en Scène, circulate, modifying, sound, performing, drama, casting, tale, screenwriting, ideology, and thought.
Novelisation of Sergio Leone's Spaghetti Western "The stable, The undesirable and the Ugly" starring Clint Eastwood and Lee Van Cleef.
Scanned by way of me.
Instead of be thought of in isolation, this booklet might be considered as a part of a basic attempt to make the paintings of Jacques Rivette to be had, in each experience of the time period. this isn't to indicate that the next texts and interviews are being provided as an insignificant complement to his movies: if the full physique of Rivette’s paintings could be learn as a chain of evolving reflections at the cinema, the serious paintings contained during this quantity is indissolubly associated with the serious paintings represented by way of his film-making.
The publication covers strange and infrequently superb components of horror movie historical past: The harrowingly tragic lifetime of Dracula's prime woman, Helen Chandler, as in detail remembered through her sister-in-law. John Barrymore's 1931 horror cars Svengali and The Mad Genius, and their rejection by means of the general public.
- United Artists, Volume 2, 1951??1978: The Company That Changed the Film Industry by Balio Tino (2009-03-02) Paperback
- Fight Pictures: A History of Boxing and Early Cinema
- The Quay Brothers: Into a Metaphysical Playroom
- Hiroshima Mon Amour
Extra resources for Seoul Searching: Culture and Identity in Contemporary Korean Cinema (Suny Series, Horizons of Cinema)
It approved the screening of only ﬁfteen uncut ﬁlms among 113 domestic ﬁlms in 1990, ﬁfty-one uncut ﬁlms among 121 domestic ﬁlms in 1991, and forty-ﬁve of ninety-six features in 1992. The stipulations of ﬁlm censorship were legitimated postproduction cuts, contained in Article 13 of the Motion Picture Law, Article 18 of the Enforcement Ordinance of the Motion Picture Law, and Article 6 of the Enforcement Rule. By these stipulations, the PPEC dictated the content of domestic ﬁlms. The stipulations listed in Article 13 were as follows: (1) when a ﬁlm impairs the spirit of the Constitution and the dignity of the state; (2) when a ﬁlm impairs social order and morals; (3) when a ﬁlm impairs friendship between Korea and another country; 4) when a ﬁlm impairs the soundness of the people.
Giving a ﬂat fee to producers, regional distributors circulated ﬁlms within a designated area among six divided regions. Some distributors competed in the bounds of a region, but no single distributor circulated ﬁlms over the country as a whole. Big pricing differences existed between domestic and imported movies. In the Honam and Kyungbuk areas, for instance, a foreign ﬁlm earned at least $92,000, whereas domestic ones received a maximum of $16,000 (Lee 1984, 214). 11 In the 1990s, however, these mechanisms were no longer sustained because the number of releases skyrocketed from 107 in 1985 to 470 in 1996.
Revenues of foreign ﬁlms became more than eighty percent of total box-ofﬁce receipts in 1989 for the ﬁrst time after the 1950s, and rose to around eight-ﬁve percent in the early 1990s. In a desperate situation where foreign ﬁlms took over a sizable portion of total revenues in the ﬁlm market, Korean ﬁlms became more competitive without following the path of low-budget, small-risk production. The market share held by domestic ﬁlms gradually began to grow from around sixteen percent in 1993 to more than twentyﬁve percent in 1997.