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By Brian Yecies, Aegyung Shim

The quick improvement of Korean cinema through the a long time of the Nineteen Sixties and 2000s unearths a dynamic cinematic heritage which runs parallel to the nation’s political, social, monetary and cultural transformation in the course of those formative periods.

This e-book examines the ways that South Korean cinema has gone through a metamorphosis from an antiquated neighborhood within the Sixties right into a thriving foreign cinema within the twenty first century. It investigates the situations that allowed those eras to turn out to be inventive watersheds, and demonstrates the forces at the back of Korea’s positioning of itself as an enormous contributor to local and worldwide tradition, and particularly its interaction with Japan, better China, and the us. starting with a proof of the understudied operations of the movie in the course of its Nineteen Sixties take-off, it then deals perception into the demanding situations that manufacturers, administrators, and coverage makers confronted within the Nineteen Seventies and Nineteen Eighties through the so much risky a part of Park Chung-hee’s authoritarian rule and the next Chun Doo-hwan army executive. It strikes directly to discover the movie industry’s professionalization within the Nineteen Nineties and next foreign growth within the 2000s. In doing so, it explores the nexus and tensions among movie coverage, generating, directing, style, and the internationalization of Korean cinema over part a century.

By highlighting the hot transnational flip in nationwide cinemas, this booklet underscores the impression of advancements pioneered via Korean cinema at the transformation of ‘Planet Hallyuwood’. it is going to be of specific curiosity to scholars and students of Korean experiences and picture reports.

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Extra resources for The Changing Face of Korean Cinema: 1960 to 2015

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The contacts, friendships, and professional inroads made by these now major industry players have directly facilitated the increasing levels of co-operation in co-productions and post-production work that have marked collaboration between Korea and China in this area since the mid-2000s. The surge in personnel exchange, technological transfer, and overall co-operation between the two nations has unfolded on multiple levels, bringing together producers, directors, and actors as well as action, visual effects and post-production specialists and cinematographers on an unprecedented scale.

The rapid development of Korean cinema during the decades of the 1960s and 2000s reveals a dynamic cinematic history running parallel to the nation’s political, social, economic and cultural transformation. In this book we investigate the circumstances that allowed these two eras to emerge as creative watersheds, and demonstrates the forces behind Korea’s positioning of itself as an important contributor to regional and global culture, and especially its interplay with the cinemas of Japan, Greater China, and the United States.

The domestic film industry began to transform itself in unforeseen ways through the business strategies employed by the entertainment arms of the Samsung and Daewoo chaebols or family-run conglomerates. However, the Asian financial crisis of 1997 and Korea’s subsequent IMF bailout changed everything—particularly after Samsung and Daewoo restructured by selling off their entertainment divisions. Ironically, this pivotal moment occurred shortly after the successful release of the action–fantasy–romance Ginkgo Bed (1996) and the love story The Contact (1997)—and, of course, after Shiri had broken all records and far exceeded expectations at the box office.

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