By Nohchool Park
A Cultural Interpretation of the South Korean self sustaining Cinema circulate, 1975-2004 examines the foundation and improvement of the autonomous cinema circulation in South Korea. The self sustaining cinema circulate refers back to the motion pictures, movie theories, film-related cultural actions that emerged to be able to rfile social realities, to recommend the liberty of creative expression, and to symbolize the voices of marginalized social identities. My dissertation is the 1st try in English movie scholarship on Korean cinema to discover the historical past of non-commercial filmmaking performed within the identify of cinema circulate from Nineteen Seventies to 2000s. the first resources of research for this learn comprise movies, books, and archive fabrics. The hitherto unpublished stories and ancient info got from the direct interviews with the self sufficient filmmakers upload originality to this dissertation. Investigating the self sustaining cinema flow deals new views at the cultural research of nationwide cinema circulate and the present scholarship of South Korean cinema. This dissertation questions the dominant historiography concerning South Korean cinema which facilities at the Sixties because the `golden age' of South Korean cinema and the Nineties as its renaissance. This place has a tendency to brush aside the intervening a long time of the Nineteen Seventies and eighty because the `dark age' of the nationwide cinema. Defying the traditional view, this examine exhibits the presence of the recent iteration of filmmakers and younger cinephiles who introduced a sequence of recent cinema hobbies from the Seventies onward. during this regard, the Nineteen Seventies could be reinterpreted because the interval that marked the genesis of the recent wave recognition within the historical past of South Korean cinema. moment, this research analyzes the heritage of the autonomous cinema circulate as a dialogic strategy among family cultural discourse and overseas movie theories. The filmmakers who initiated the self reliant cinema circulation drew on Euro-American paintings cinemas, New Latin American Cinema, and the feminist motion pictures from the West to include them into the household cultural context, generating the recent options equivalent to the Small movie, the People's Cinema and the woman's movie. This truth demanding situations the nationwide cinema discourse which presupposes that the heritage of South Korean cinema is confirmed in the closed circuit of the nationwide heritage and standard aesthetics. My dissertation is helping create an alternate standpoint in which to work out the development of nationwide cinema as essentially an interplay among indigenous renowned discourses and overseas movie new waves. eventually, this dissertation takes into account the energetic roles of the self sufficient filmmakers. It examines the movies and manuscripts produced through the filmmakers to determine how they invented and elaborated their positions approximately cinema stream within the given cultural box in every one interval. It can pay recognition to the cultural box the place the filmmakers are conditioned among what they desired to visualize and what's externally granted. Viewing a longtime cultural box as a hegemonic development, this research additionally investigates the best way transformation happens from one cultural box to a different.
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Extra info for A cultural interpretation of the South Korean Independent Cinema Movement, 1975-2004
These conditions involved matters pertaining to official censorship, backward cinematic technology, obsolete film language, an ineffective film industry, and Korean national cinema s lack of international status. However, the military regime enacted the film law in 1973 that regulated the number of production companies, domestic film production, foreign film importation, not to mention the content of the films themselves. As a result, it retarded cinematically critical minds of the day so that they could not produce anything notable.
South Korean cinema reached its zenith of film production in 1970 when it produced 231 films. However, these figures plummeted afterwards (Table 1). As South Korean film critic Yi Hyo-In points out, the large number of films produced in 1970 contests the rigid distinction between the rosy 60s and the dark 70s. 12 It also allows us to conjecture a certain level of continuity connecting the two. 13 It is said that the 1970s films were handicraft production method, a control of nation-wide distributions by a modicum of theatre owners and local entrepreneurs, an inability and irregularities of production companies, an obsolete film language, a spawning of rough-and-ready quickies and imitations, an awkward directing and crude scenarios, and a dearth of imagination.
The combination of a spatial concept and a temporal noun may sound clumsy, but its signification is precise and informative. The Cultural Center Generation indicates an anonymous group of youngsters in the 1970s, mostly university students who found a particular usage of the French Cultural Centre and the German Goethe Institute as a route to reach scholarly and cultural works produced in Europe, which were otherwise unobtainable in the official domains of South Korean academia and popular culture.
A cultural interpretation of the South Korean Independent Cinema Movement, 1975-2004 by Nohchool Park