The Untold Story Of The Korean Film Industry

This book analyses the Korean film industry emergence and development in a global business and economic perspective. This is one of the first books to compare the film policies and industries of the world’s six largest film industries – featuring Korea as the central character – with the aim of defining the contours of what constitutes an effective film policy. It presents many cases showing that, contrary to what is often believed, an economically sound policy is a good instrument for achieving desired cultural goals. It uses a set of analytical tools – borrowed from the economic analysis of international trade policies – to provide a rich harvest of new, rigorous, and often unexpected results on the effectiveness of the existing film policies. The implications found in this book are relevant not only for Korea, but for all other countries that wish to foster or enhance the competitiveness of their film industries. This book will be of interest to a wide spectrum of scholars interested in cultural studies – media and cultural specialists, political scientists, sociologists, historians – in addition to business analysts and economists specialized in cultural economics. As this book focuses on film policies and how to improve them, it will also appeal to policymakers, business figures, public relations officials, and staff from international organizations working on the film industry.

Korea’s Occupied Cinemas, 1893-1948 compares and contrasts the development of cinema in Korea during the Japanese occupation (1910-1945) and US Army Military (1945-1948) periods within the larger context of cinemas in occupied territories. It differs from previous studies by drawing links between the arrival in Korea of modern technology and ideas, and the cultural, political and social environment, as it follows the development of exhibition, film policy, and filmmaking from 1893 to 1948. During this time, Korean filmmakers seized every opportunity to learn production techniques and practice their skills, contributing to the growth of a national cinema despite the conditions produced by their occupation by colonial and military powers. At the same time, Korea served as an important territory for the global expansion of the American and Japanese film industries, and, after the late 1930s, Koreans functioned as key figures in the co-production of propaganda films that were designed to glorify loyalty to the Japanese Empire. For these reasons, and as a result of the tensions created by divided loyalties, the history of cinema in Korea is a far more dynamic story than simply that of a national cinema struggling to develop its own narrative content and aesthetics under colonial conditions.

This project compares and contrasts the development of cinema in Korea during the Japanese occupation (1910-1945) and US Army Military (1945-1948) periods within the larger context of cinemas in occupied territories.

Even though Hollywood films still dominate the world’s box offices, Korean films are just as popular as their Hollywood counterparts in domestic theaters. In 2014 alone, Korean movies drew a combined total of 107.7 million viewers at box offices nationwide, accounting for 50.1% of the total number of movie viewers. Korean movies have accounted for more than 50% of the total film market share for the past four years and have attracted more than 100 million moviegoers annually for the past three years. In particular, the movie The Admiral: Roaring Currents (2014), which depicts Chapter 1 Korean Films Today The Evolution of Commercial Films: Korean-style Blockbuster Films The Coexistence of ‘Diversity Films’ Foreign Perspectives on Korean Films Chapter 2 Korean Films in the World Overseas Export of Hallyu and Korean Films Expansion of Exchanges through Joint Production with Foreign Countries Increased Export of Film Technology Services Taking the Lead in the Development of the Southeast Asian Film Industry Korean Directors Gaining Attention Worldwide K-Movie Stars Chapter 3 Major Film Festivals in Korea Busan International Film Festival Jeonju International Film Festival Bucheon International Fantastic Film Festival International Women’s Film Festival in Seoul Jecheon International Music & Film Festival Other Festivals Chapter 4 Top 10 Korean Films Worldwide

Before becoming the world's most notorious dictator, Kim Jong-Il ran North Korea's Ministry for Propaganda and its film studios. Conceiving every movie made, he acted as producer and screenwriter. Despite this control, he was underwhelmed by the available talent and took drastic steps, ordering the kidnapping of Choi Eun-Hee (Madam Choi)—South Korea's most famous actress—and her ex-husband Shin Sang-Ok, the country's most famous filmmaker.Madam Choi vanished first. When Shin went to Hong Kong to investigate, he was attacked and woke up wrapped in plastic sheeting aboard a ship bound for North Korea. Madam Choi lived in isolated luxury, allowed only to attend the Dear Leader's dinner parties. Shin, meanwhile, tried to escape, was sent to prison camp, and "re-educated." After four years he cracked, pledging loyalty. Reunited with Choi at the first party he attends, it is announced that the couple will remarry and act as the Dear Leader's film advisors. Together they made seven films, in the process gaining Kim Jong-Il's trust. While pretending to research a film in Vienna, they flee to the U.S. embassy and are swept to safety.A nonfiction thriller packed with tension, passion, and politics, author Paul Fischer's A Kim Jong-Il Production offers a rare glimpse into a secretive world, illuminating a fascinating chapter of North Korea's history that helps explain how it became the hermetically sealed, intensely stage-managed country it remains today.

You don't have to look very far these days to see the influence that the film industry of Hong Kong has had on moviemaking around the world. Hong Kong film stars, such as Jackie Chan, Chow Yun-fat, Jet Li, and Michelle Yeoh, have become household names headlining Hollywood blockbusters, while directors such as John Woo, Tsui Hark, and Wong Kar-wai are closing deals in Tinseltown and developing huge international followings. Despite achieving such recognition abroad, the luster on Hong Kong's homegrown film industry has faded quite a bit over the past decade. However, many Hong Kong cinema aficionados, who passionately followed the rise of the 'Hong Kong New Wave' during the Eighties and early Nineties, only to become increasingly disenchanted since then, are now looking to South Korea for Asia's boldest and most innovative films. Since 1998, South Korea's local film industry has undergone a remarkable transformation. A new generation of Korean moviemakers is revitalizing the industry with bold arthouse productions, big-budget actioners, thought-provoking dramas, and subversive satires. In some circles, South Korea is even being likened to the new 'Hong Kong', with its film industry on the verge of exploding onto the world stage, similar to how the 'Hong Kong New Wave' catapulted the former British colony and its groundbreaking films into the international spotlight. Already, some Korean films have found success in the North American market arthouse circuit, while Korean directors are being courted by major Hollywood studios for lucrative U.S. remake rights. "Korean Cinema: The New Hong Kong" is a guidebook for exploring this new and exciting treasure trove of cinema. It is the first book of its kind, covering this emerging cinematic powerhouse in an easy-to-read and leisure-focused fashion, bringing all the sought-after information on Korean cinema into one convenient package. Within the pages of Korean Cinema: The New Hong Kong, you will find: A brief history of South Korea and its film industry, which will help you understand the reasons behind the revolutionary changes in Korean cinema and what is influencing the country's directors A look at the present state of Korea's filmmaking industry and how it resembles the dot-com era (with the only difference being that these companies are actually making money, and lots of it) An examination of the characteristics, themes, and dominant genres of the films in this newest 'Korean New Wave' In-depth reviews and commentary of the top ten must-see films of this latest 'Korean New Wave' An overview of the top genres of Korean cinema, with reviews, commentary, and notes on availability for the good, the bad, and the ugly A look at the stars of Korean cinema, such as the Korean equivalents to Tom Cruise (Han Suk-kyu) and Julia Roberts (Shim Eun-ha). How moviegoers can go about seeing Korean flicks (with English subtitles too!) So sit back, relax, and get ready to be introduced to Korean Cinema: The New Hong Kong! Comments about the book "It's designed for people who are in the process of discovering Korean film, and it's especially useful for people who are building DVD collections. Anthony approaches the industry as a fan of Hong Kong cinema who has gravitated towards Korean films in recent years... 266 pages in total, so there's a lot of information... I'd recommend it." (Darcy Paquet, Koreanfilm.org, Screen International correspondent, and English language editor for the Korean Film Commission) "Anthony Leong has taken the study of Asian Cinema to the next level. This book helps make sense of Korean cinema. It's an authoritative text, yet thoroughly entertaining, while being the definitive word of this exploding motion pic

Theorizing Colonial Cinema is a millennial retrospective on the entangled intimacy between film and colonialism from film's global inception to contemporary legacies in and of Asia. The volume engages new perspectives by asking how prior discussions on film form, theory, history, and ideology may be challenged by centering the colonial question rather than relegating it to the periphery. To that end, contributors begin by excavating little-known archives and perspectives from the colonies as a departure from a prevailing focus on Europe's imperial histories and archives about the colonies. The collection pinpoints various forms of devaluation and misrecognition both in and beyond the region that continue to relegate local voices to the margins. This pathbreaking study on global film history advances prior scholarship by bringing together an array of established and new interdisciplinary voices from film studies, Asian studies, and postcolonial studies to consider how the present is continually haunted by the colonial past. Winner of the SCMS Best Edited Collection Award!