Seoul Searching: Culture and Identity in Contemporary Korean by Frances Gateward

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.

Show description

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.

Show description

Read or Download Seoul Searching: Culture and Identity in Contemporary Korean Cinema (Suny Series, Horizons of Cinema) PDF

Similar film books

Understanding Movies (11th Edition)

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.

The Good, the Bad and the Ugly

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.

Rivette: Texts and Interviews

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 Very Witching Time of Night: Dark Alleys of Classic Horror Cinema

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.

Extra resources for Seoul Searching: Culture and Identity in Contemporary Korean Cinema (Suny Series, Horizons of Cinema)

Sample text

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.

Download PDF sample

Rated 4.31 of 5 – based on 39 votes