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  • P-ISSN0023-3900
  • E-ISSN2733-9343

Production and Consumption of Contemporary Korean Cinema

Korea Journal, (P)0023-3900; (E)2733-9343
2006, v.46 no.1, pp.8-35

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Abstract

Korean cinema entered a new phase from the 1990s, which seemed a complete breakup from the past. During the 1990s Korean cinema underwent remarkable explosive growth in quantity and quality. In this paper, the main currents of the contemporary Korean cinema industry are divided into three, that are producer-centered "packaged cinema" , its variant a variety of Korean-style blockbusters seeking the advantages of economies of scale blockbusters, and director-centered New Korean Cinema. If Korean films in the 1990s were an effort to distinguish themselves and survive individually within the local region of Korean, then the Korean films since the year 2000 have been an effort to pursur both individual survivial and new possibilities for Asian movies by further expanding their scope. It is now time to examine coldly whether the new attempts being made by Korean movies can really find alternative possibilities or whether they are only blindly following the quasi-universal Hollywwod hegemony.

keywords
Korean Film Industry New Korean Cinema Packaged Cinema Korean Blockbuster Hhallyu Media Industry Translation Fifth Amendment of Cinema LawKim Byeongcheol (Kim Byeong-cheol) is a lecturer at GyKyueonghHee University. He obtained his Ph.D. fro Korean Film Industry New Korean Cinema Packaged Cinema Korean Blockbuster Hhallyu Media Industry Translation Fifth Amendment of Cinema LawKim Byeongcheol (Kim Byeong-cheol) is a lecturer at GyKyueonghHee University. He obtained his Ph.D. fro

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in particular, (1983) Jang Sun-woo dabbled in theoretical criticism in the article Yeolyeojin younghwarul wihayeo, Seoul Visual Collective published a film theory book and For Open Cinema For New Cinema

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The success of Korean cinema during the 1960s should be understood as due to the protection wall under the import regulation system rather than as a victory in the battle with the cultural industry represented by Hollywood it can be reasonably said that it was from the New Korean Cinema that Korean films began to achieve some success in a period when competition between universality and particularity occurred at a full scale around the world The success of Korean cinemas during the 1960s should be conceived due to the protection wall under the import regulation system rather than a,

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Kim Kyung Hyun, (1998) Im GKwon-taeks films are typical examples of this. His transformation from a typical commercial moviemaker from Chungmuro to an authorist director seeking artfuland artistic quality in his films must have been based on his personal awakening and motivation ( resolution to change his style.resolution?). However, it might be somewhat related to the fact that he received awards at international film festivals and thereby, came to be certified as an auteur that he continued to produce not-so-commercial films amidst the intense competition that prevailed from since 1985.K,

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It does not mean that classical Hollywood prior to the New Hollywood prior to the New Chungmuro share a similar structure or status In a comparison like this one the focus is on the production system and stability of the industrial structure From the 1970s to the early 1980s Korean cinema had a low recognition and the production system of Chungmuro was at the brink of extinction guaranteed under the legal system It does not mean that classical Hollywood prior to the New Hollywood prior to the Ne,

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Moon Jae-cheol raises a question about the status of realism in Korean cinema He thinks that in Korean cinema realism does not have concrete objects of representation and instead unlike in Western cinema operates as a sort of complementary signifier that complements what is missing to be complete This notion of realism in Korean cinema can be applied to Korean blockbusters as wellMoon Jae-cheol raises a question on the status of realism in Korean cinema He thinks that in Korean cinema realism does not have concrete objects of representation and instead unlike in Western cinema,

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At first, The lifting of the limit on the number of prints had an enormous impact on the Korean film industry which will be discussed in detail later in this paper with the emergence of Korean distribution managers it exercised great influence on the birth and expansion of Korean blockbusters it operated as a mechanism of putting pressure on small movies regardless of the distributors nationalityThe lifting of the limit on the number of prints had an enormous impact on the Korean film industry,

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In other words, The nature of capital itself does not define that of cinema directly This is because capital demands to generate more capital not a specific form or content Films with anti-capital components can be made with big business capital as long as they can bring lots of revenue Due to the contradictory relations between capital and cinema The nature of capital itself does not define that of cinema directly This is because capital demands the g, capital does not inspect cinema directly subversive cinemas are produced sometimes which contain components opposing dominant ideology

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In this paper, Korean blockbusters are regarded as a variant of package cinemapackaged cinemas So the transition from package cinemapackaged cinemas to blockbusters does not mean its disappearance but an evolution to a different genre Korean blockbusters are regarded as a variant of packaged cinema So the transition from packaged cinema to blockbusters does not mean its disappearance but an evolution to a different genre,

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The discourse on Jurassic Park under the Kim Young Sam administration that a single movie generated more revenue than what was earned by selling hundreds of thousands of Hyundai cars gave people a clear idea about the importance of cinema as a culture industry The discourse on Jurassic Park under the Kim Young-s Sam administration that a single movie generated more revenue than what was earned by selling hundreds of thousands of Hyundai cars gave people a clear idea about the importance of cinema as a culture industry,

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