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  3. Rediscovering Korean Cinema

Rediscovering Korean Cinema

Sangjoon Lee, Editor
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  • Overview

  • Contents

South Korean cinema is a striking example of non-Western contemporary cinematic success. Thanks to the increasing numbers of moviegoers and domestic films produced, South Korea has become one of the world's major film markets. In 2001, the South Korean film industry became the first in recent history to reclaim its domestic market from Hollywood and continues to maintain around a 50 percent market share today. High-quality South Korean films are increasingly entering global film markets and connecting with international audiences in commercial cinemas and art theatres, and at major international film festivals. Despite this growing recognition of the films themselves, Korean cinema's rich heritage has not heretofore received significant scholarly attention in English-language publications.

 

This groundbreaking collection of thirty-five essays by a wide range of academic specialists situates current scholarship on Korean cinema within the ongoing theoretical debates in contemporary global film studies. Chapters explore key films of Korean cinema, from Sweet Dream, Madame Freedom, The Housemaid, and The March of Fools to Oldboy, The Host, and Train to Busan, as well as major directors such as Shin Sang-ok, Kim Ki-young, Im Kwon-taek, Bong Joon-ho, Hong Sang-soo, Park Chan-wook, and Lee Chang-dong. While the chapters provide in-depth analyses of particular films, together they cohere into a detailed and multidimensional presentation of Korean cinema's cumulative history and broader significance.

 

With its historical and critical scope, abundance of new research, and detailed discussion of important individual films, Rediscovering Korean Cinema is at once an accessible classroom text and a deeply informative compendium for scholars of Korean and East Asian studies, cinema and media studies, and communications. It will also be an essential resource for film industry professionals and anyone interested in international cinema.

 
  • Cover
  • Title Page
  • Copyright Page
  • Contents
  • Introduction
  • 1. A Brief History of Korean Cinema
  • 2. Sweet Dream (1936) and the Transformation of Cinema in Colonial Korea
  • 3. Spring in the Korean Peninsula (1941)
  • 4. A Hometown in the Heart (1949)
  • 5. Piagol (1955)
  • 6. Madame Freedom (1956)
  • 7. Flower in Hell (1958)
  • 8. The Housemaid (1960)
  • 9. Aimless Bullet (1961)
  • 10. Mist (1967)
  • 11. The Road to Sampo (1975)
  • 12. The March of Fools (1975)
  • 13. Declaration of Idiot (1983)
  • 14. Chilsu and Mansu (1988)
  • 15. The Night Before the Strike (1990)
  • 16. My Love, My Bride (1990)
  • 17. The Murmuring Trilogy (1995–99)
  • 18. A Petal (1996)
  • 19. The Power of Kangwon Province (1998)
  • 20. Die Bad (2000)
  • 21. Ch’unhyang, Chihwaseon, and Hanji
  • 22. My Sassy Girl (2001)
  • 23. Take Care of My Cat (2001)
  • 24. Oldboy (2003)
  • 25. Repatriation (2003)
  • 26. A Tale of Two Sisters (2003)
  • 27. 3-Iron (2004)
  • 28. The Host (2006)
  • 29. Family Ties (2006)
  • 30. Secret Sunshine (2007)
  • 31. The Journals of Musan (2010)
  • 32. Stateless Things (2011)
  • 33. Snowpiercer (2013)
  • 34. Ode to My Father (2014)
  • 35. Train to Busan (2016)
  • Chronology of Korean Cinema
  • Filmography
  • Contributors
  • Index
Citable Link
Published: 2019
Publisher: University of Michigan Press
ISBN(s)
  • 978-0-472-05429-9 (paper)
  • 978-0-472-07429-7 (hardcover)
  • 978-0-472-12609-5 (ebook)
Series
  • Perspectives on Contemporary Korea
Subject
  • Asian Studies:Korea
  • Media Studies:Cinema Studies

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Photograph of The representative film of Korea’s silent era, Na Un-gyu’s Arirang (1926).

Na Unkyu 's Arirang (1926)

From Chapter 1

The representative film of Korea’s silent era, Na Un-gyu’s Arirang (1926).

Movie still from Yi Man-hŭi’s Late Autumn (Manch’u, 1966).

A scene of Yi Man-hŭi Late Autumn (Manchu, 1966)

From Chapter 1

A scene from Yi Man-hŭi’s Late Autumn (Manch’u, 1966) representing 1960s South Korean film aesthetics.

Poster of Shiri (Shwiri, Kang Che-gyu, 1999).

Shiri (Kang Chekyu, 1999)

From Chapter 1

Shiri (Shwiri, Kang Che-gyu, 1999) became the initiator of the South Korean blockbuster.

Sweet Dream (1936). Screen shots from Korean Film Archive’s open access YouTube video.

Eight Stills fom Sweet Dream (1936)

From Chapter 2

Sweet Dream (1936). Screen shots from Korean Film Archive’s open access YouTube video. Author’s own collection.

Sweet Dream (1936). Screen shots from Korean Film Archive’s open access YouTube video.

Two Stills from Sweet Dream (1936)

From Chapter 2

Sweet Dream (1936). Screen shots from Korean Film Archive’s open access YouTube video. Author’s own collection.

Filming of The Story of Ch’unhyang.

Filming The Tale of Ch’unhyang

From Chapter 3

Filming of The Story of Ch’unhyang

Movie still from Piagol , 1955.

Piagol (P’iagol, 1955) 1

From Chapter 5

Piagol (P’iagol, 1955)

Movie still from Piagol , 1955.

Piagol (P’iagol, 1955) 2

From Chapter 5

Piagol (P’iagol, 1955)

Still from film Madame Freedom shows Mme. O working at the Paris Boutique.

Mme. O working at the Paris Boutique

From Chapter 6

Mme. O working at the Paris Boutique

Still from Madame Freedom shows Mme. O crouching at her husband's feet in the final scene.

Mme. O crouches at her husband’s feet in the final scene.

From Chapter 6

Mme. O crouches at her husband’s feet in the final scene.

Film still showing Postwar ruins.

Postwar ruins

From Chapter 7

Postwar ruins

Film still showing Sonya along the barracks.

Sonya along the barracks

From Chapter 7

Sonya along the barracks

Movie still from The Housemaid: who is seducing whom?.

The Housemaid (1960)

From Chapter 8

The Housemaid: who is seducing whom?

Film still from The Housemaid showing the maid, the piano teacher husband, and his pupil.

Kim Kiyŏng’s eternal triangle

From Chapter 8

The maid, the piano teacher husband, and his pupil.

Photograph of  Tracking shot captures the disintegration of the family.

Tracking shot captures the disintegration of family

From Chapter 9

Tracking shot captures the disintegration of the family.

Movie still showing Myôngsuk hands over her money to her traumatized brother.

Sister hands over her money to her traumatized brother

From Chapter 9

Myôngsuk hands over her money to her traumatized brother.

Poster of Mist.

Poster of Mist

From Chapter 10

Poster of Mist. Courtesy of Korean Film Archive.

Film still from Mist where ants are swarming on the account book in Yun's fantasy.

Scene from Mist

From Chapter 10

Scene from Mist, where ants are swarming on the account book in Yun’s fantasy.

Photograph showing Landscape of dislocated locality.

Landscape of Dislocated Locality

From Chapter 11

Landscape of dislocated locality

Photograph of Mobile vulgus in the funeral.

Mobile Vulgus in Funeral

From Chapter 11

Mobile vulgus in the funeral

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