Relevant bibliographies by topics / History of Korean cinema

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'History of Korean cinema'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "History of Korean cinema"

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Rhee, Suk Koo. "Uncanny Hybridity and Nostalgia Politics inThe Yellow Sea." Journal of Asian Studies 76, no. 3 (2017): 729–50. http://dx.doi.org/10.1017/s002191181700050x.

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This article analyzes the ways that Korean Chinese migrants are exploited aesthetically in their ancestral homeland by focusing on their mass-media refiguration. These return migrants, or the Chosŏnjok, have been received by their South Korean co-ethnics into what may be called a “hierarchical nationhood.” The strategies of temporal displacement, this article contends, are employed in South Korean cinema and television dramas in order to contain the uncanny cultural difference embodied by these ethnic returnees. As a result, a certain sense of belatedness is inscribed on the bodies of these migrants. If this temporal refiguration wards off the psychological discomfort of dealing with difference in the midst of sameness, it may be said at the same time to fetishize its object within an archaic constellation that South Koreans find endearing, yet disturbingly absent, from their highly consumerist contemporary society. In attempting to delineate the “nostalgia politics,” the article aims to shed light on the function of certain mass media representations, including Hongjin Na's movieThe Yellow Sea, in the context of the socioeconomic realities of South Korea.
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Ham, Chung-Beom. "The significance of “Busan” in early Korean cinema history." HANGDO BUSAN 42 (August 31, 2021): 177–203. http://dx.doi.org/10.19169/hd.2021.8.42.177.

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Klein, Christina. "Cold War Cosmopolitanism: The Asia Foundation and 1950s Korean Cinema." Journal of Korean Studies 22, no. 2 (2017): 281–316. http://dx.doi.org/10.1215/21581665-4226460.

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Abstract South Korean films first became visible on the world stage in the late 1950s when they began to be exhibited and win prizes at international film festivals. Yi Pyŏngil’s The Wedding Day (1956) and Han Hyŏngmo’s Because I Love You (1958) were among Korea’s earliest award-winning films. These two films exemplify a postcolonial and postwar discourse I am calling “Cold War cosmopolitanism.” The cultivation of this cosmopolitan ethos among cultural producers was a major objective for Americans waging the cultural Cold War in Asia, and the Asia Foundation was Washington’s primary instrument for doing so. This article traces the history of the Asia Foundation from its inception in the National Security Council in the late 1940s through its activities in Korea in the 1950s and early 1960s. It pays particular attention to the foundation’s support for Korean participation in the Asian Film Festival. It offers a close textual and historical reading of Yi’s and Han’s films as a means of exploring how Korean cultural producers, acting as Cold War entrepreneurs, took advantage of the Asia Foundation’s resources in ways that furthered their own aesthetic, economic, and political interests.
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Lippit, Akira Mizuta. "Hong Sangsoo's Lines of Inquiry, Communication, Defense, and Escape." Film Quarterly 57, no. 4 (2004): 22–30. http://dx.doi.org/10.1525/fq.2004.57.4.22.

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Abstract This article looks at the first four films of contemporary Korean filmmaker Hong Sangsoo. It seeks in particular to explore Hong's use of ““lines”” as geographical and behavioral figures that chart the contemporary landscape of South Korea at a complex moment in its history. The lines that traverse Hong's world produce a cinema of tangled webs and knotted relations.
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Park, Yuhee. "What Was Western Literature in the History of Korean Cinema?" Film Studies 86 (December 31, 2020): 5–46. http://dx.doi.org/10.17947/fs.2020.12.86.5.

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Ham, Chung Beom. "A Study on the Starting Point of Korean Cinema : Focusing on ‘Discussion 1919’ in Cinema History." Journal of Asiatic Studies 62, no. 3 (2019): 143–74. http://dx.doi.org/10.31930/jas.2019.09.62.3.143.

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Finch, John. "Virtual Hallyu: Korean Cinema of the Global Era." Asian Studies Review 38, no. 1 (2014): 142–44. http://dx.doi.org/10.1080/10357823.2014.870953.

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Gardener, Ryan. "Storming off the tracks: Zombies, high speed rail and South Korean identity in Train to Busan." Asian Cinema 32, no. 1 (2021): 37–53. http://dx.doi.org/10.1386/ac_00032_1.

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This article focuses on how the recent blockbuster hit Train to Busan (Yeon 2016), in transposing the zombie horror genre into the South Korean setting, allows South Korean history and social context to actively shape the manner in which it appropriates a genre largely untested by the local film industry. It argues that the film uses genre as a global vernacular through which to speak of specifically Korean issues (in particular, the Korean War, and the issues of South Korea’s speed-oriented Ppalli-Ppalli culture), and locates such practice within the broader context of contemporary South Korean cinema.
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김성경. "Conceptual History of ‘Ethnic/National-Film’ ; From ‘Choseon Film’ to ‘Korean Cinema’." 탐라문화 ll, no. 56 (2017): 247–78. http://dx.doi.org/10.35221/tamla.2017..56.008.

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Suhyun KIM. "(In)Commensurability of Korean Cinema: International Coproduction of Korean Films in the 2010s." Korea Journal 59, no. 4 (2019): 136–66. http://dx.doi.org/10.25024/kj.2019.59.4.136.

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Dissertations / Theses on the topic "History of Korean cinema"

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Hwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.

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From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.
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Brown, James, and katsuben@internode on net. "South Korean Film Since 1986: The Domestic and Regional Formulation of East Asia’s Most Recent Commercial Entertainment Cinema." Flinders University. School of Humanities (Screen Studies), 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071122.143238.

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This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinema’s engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industry’s structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.
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Kang, Chang Il. "Les débuts du cinéma en Corée : entre projection et spectacle vivant." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080032.

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Cette recherche est une étude sur les débuts de l'histoire du cinéma en Corée des premières projections de films dans ce pays jusqu'en 1935, année pendant laquelle les Coréens ont commencé à produire des films parlants. Dans la première partie, nous avons étudié l’arrivée du cinéma en Corée, quand et par qui il a été introduit dans ce pays. Puis, quels films ont été vus par le public coréen et quels effets ils ont produits sur ce public.Dès les premiers temps du cinéma, chaque région du monde a essayé de surmonter les manques du film muet. Aussi, la deuxième partie s’intéresse à la particularité de la projection des premiers films muets en Corée. Le mot « spectacle cinématographique » se réfère, d’abord, à la représentation de films dans les premiers temps des débuts du cinéma. Le spectacle cinématographique sous-entend la possibilité d’un accompagnement supplémentaire, surtout sonore. En effet, les premiers films étaient « muets » et le moyen de mettre du son sur la pellicule n’avait pas encore été trouvé. De plus, souvent, il y avait aussi un concert ou un court spectacle secondaire (clown, bonimenteur, etc.) pendant, avant ou même après la projection des films. Cet ensemble autour de la projection de films représentait un véritable « spectacle cinématographique ». Nous avons étudié ce spectacle mixte présenté depuis 1919 à Séoul en Corée, et qui combine concert, projections de films, théâtre occidental moderne et boniment appelé Chosŏn Sinp'a Hwaltong Yŏnswaegŭk ou Chosŏn Kino-drama.Dans la troisième partie, nous avons présenté et analysé les données sur les films muets coréens dont nous avons pu retrouver les traces<br>This research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces
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Jacobson, Lara K. "Diversity and Democracy at War: Analyzing Race and Ethnicity in Squad Films from 1940-1960." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/war_and_society_theses/6.

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Both the Second World War and the Korean War presented Hollywood with the opportunity to produce combat films that roused patriotic spirit amongst the American people. The obvious choice was to continue making the popular squad films that portrayed a group of soldiers working together to overcome a common challenge posed by the war. However, in the wake of various racial and ethnic tensions consistently unfolding in the United States from 1940 to 1960, it became apparent to Hollywood that the nation needed pictures of unity more than ever, especially if America was going to win its wars. Using combat as the backdrop, squad films consisting of men from all different backgrounds were created in order to demonstrate to its audiences how vital group cohesion was for the survival of the nation, both at home and abroad. This thesis explores how Hollywood’s war films incorporated racial and ethnic minorities into their classic American squads while also instilling the country’s inherent values of democracy.
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Lee, Aramchan. "Male hysteria : traumatic masculinity in contemporary Korean cinema." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/396726/.

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Employing textual and contextual analysis, this thesis analyses hysterical masculinity in popular Korean cinema. I argue that in a significant number of contemporary Korean films men are depicted as experiencing trauma due to the impact of the Korean economic crisis after 1997. My focus will be mainly on films made in the first five years after the onset of the financial crisis. In Chapter One, I discuss the ways in which Korean cinema prior to this period explored masculinity, providing contrast and comparison to subsequent forms of representations. In particular, I explore the trajectory of masculine identities in Korean cinema since the 1960s. I also address the textual and theoretical methodologies which inform my case studies. Chapter Two asks to what extent Confucianism and militarism had an influence on Korean masculinity. I suggest that the 1997 Korean financial crisis revealed not only economic complexities but also structural problems in Korean society. Furthermore, the chapter briefly maps a history of Korean cinema from 1980s to 1990s, in particular the emergence of the Korean New Wave and New Korean Cinema. In sum, I examine the historical contexts of Korean masculinity and cinema focusing firstly on patterns of male dominance, secondly on pre and post-1997 Korean cinema, and thirdly on the formal conventions of melodrama and the gangster genre as essential aspects in comprehending the background of how masculinity figures in contemporary Korean cinema. In Chapter Three, I introduce the notion of ‘hysterical excess’ in the expression of masculinity, looking in particular at the case-study of Jung Jiwoo’s Happy End (1999). Through textual analysis, I detail how a hysterical excess of masculinity eventually results in femicide and female victimisation. Chapter Four employs the concept of ‘distorted pleasure’ to examine Kim Kiduk’s films, in particular The Isle (2000) and Bad Guy (2001). The chapter notes their tendency to represent a vision of ‘twisted pleasure’, which includes rape fantasies, sadism and masochism. Once again, a weakness of masculinity expresses itself through violence toward women. In Chapter Five, I discuss two films by Lee Changdong; Peppermint Candy (2000) and Oasis (2002), exploring themes of nostalgia, fantasy, and Christianity, as well as the meaning of particular aesthetic devices such as flashback and social realism.
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com, patsorn_sungsri@hotmail, and Patsorn Sungsri. "Thai Cinema as National Cinema: An Evaluative History." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061019.145601.

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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O’Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed—economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation’s text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema. Of particular relevance is this dissertation’s emphasis on three resilient and potent signifiers of Thai identity—nation, religion, and monarchy—and their interrelationship and influence in the development of Thai National Cinema. These three ‘pillars’ of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
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Sungsri, Patsorn. "Thai cinema as national cinema : an evaluative history /." Sungsri, Patsorn (2004) Thai cinema as national cinema: an evaluative history. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/354/.

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This dissertation considers Thai cinema as a national text. It portrays and analyses Thai film from the introduction of cinema to Thailand during the reign of King Chulalongkorn (1868-1910) up until the present day (2004). At its core, this thesis adopts the ideas of Higson, O'Regan and Dissanayake in considering the cultural negotiation of cinema and the construction of nation. In this study of Thai National Cinema two principal methods are employed - economic and text-based. In terms of political economy Thai National Cinema is explored through the historical development of the local film industry, the impact of imported cinema, taxation, censorship and government policy, and the interplay between vertically and horizontally integrated media businesses. Special attention is paid to the evolving and dynamic role of the ruling class in the local film industry. The dissertation's text-based analyses concern the social and ideological contexts of these national productions in order to consider extant characteristics of Thai nationhood and how these are either reflected or problematised in Thai Cinema. Of particular relevance is this dissertation's emphasis on three resilient and potent signifiers of Thai identity- nation, religion,and monarchy - and their interrelationship and influence in the development of Thai National Cinema. These three 'pillars' of Thai society form the basis for organising an understanding of the development of Thai cinematic tradition, now over a century old. This thesis argues that any discussion of the historical, or current, development of Thai National Cinema must accommodate the pervasive role that these three principal forms of national identity play in formulating Thai society, culture, and politics. The recent challenges of globalisation and postmodernism, as well as the rise of an educated middle-class, provide opportunity for reconceptualizing the relevance of these three pillars. In this way Thai National Cinema can be considered a useful barometer in both reflecting and promoting the construction of Thai identity and thought.
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Kim, Sung-Kyung. "Globalisation, film, and authenticity the renaissance of Korean national cinema /." Online version, 2005. http://bibpurl.oclc.org/web/32935.

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Kim, Sung Kyung. "Globalisation, film and authenticity : the renaissance of Korean national cinema." Thesis, University of Essex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425840.

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An, Ji-yoon. "Family pictures : representations of the family in contemporary Korean cinema." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/268018.

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The family has always been a central narrative theme in cinema. Korean cinema has been no exception, where the family has proved to be a popular subject since its earliest days. Yet Western scholarship on Korean cinema has given little attention to this dominant theme, preferring to concentrate on the film industry's recent revival and its blockbusters. Scholarship in Korea and in the Korean language, on the hand, has continuously discussed some of the major cinematic works on the family. However, such literature has tended to be in the form of articles discussing one or two particular works. A comprehensive study of the family in contemporary Korean cinema therefore remains absent both in Korean and in English. This thesis is an attempt to provide such a work, bringing together films on the family and writings on them in both Western and Korean scholarships, as well as filling the gaps where certain trends and patterns have gone undetected. How are the changes in the understanding of the family or in the roles of individual family members reworked, imagined, or desired in films? Taking this question as the starting point of the research, each chapter explores a separate theme: transformations in the structure of the family; faltering patriarchy and fatherhood; motherhood and the extremity of maternal love; and certain children's experiences of the family. The first chapter detects a general move away from the traditional patriarchal nuclear family and an interest in depicting alternative families, exploring shifting family forms in contemporary society and the public discourses surrounding them. The second chapter highlights the contradictory ways that the father has been illustrated in films during and after the IMF crisis. The third chapter explores a branch of recent thrillers that depicts mothers as dark and dangerous characters, offering an interesting cultural framing to the multiple perceptions of the mother figure in contemporary society. Finally, the last chapter aims to extend representations of the 'Korean family' to include films by/about those currently living outside of Korea, namely Korean emigrants and adoptees.
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Books on the topic "History of Korean cinema"

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Yŏng-il, Yi. The history of Korean cinema: Main current of Korean cinema. Motion Picture Promotion Corp., 1988.

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North Korean cinema: A history. McFarland & Company, Inc., Publishers, 2012.

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The history of Korean cinema. Jimoondang Pub. Co., 1998.

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Charyoro pon Hanʾguk yŏnghwasa: The history of Korean cinema. Yorhwadang, 1997.

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Contemporary Korean cinema: Identity, culture, and politics. Manchester University Press, 2000.

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Yi, Hyo-in. A history of Korean cinema: From Liberation through the 1960s. Korean Film Archive, 2005.

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Charyo ro pon Hanʼguk yŏnghwasa: The history of Korean cinema. Yorhwadang, 1997.

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Kim, Kyung Hyun. Virtual hallyu: Korean cinema of the global era. Duke University Press, 2011.

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Virtual hallyu: Korean cinema of the global era. Duke University Press, 2011.

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Yi, Kil-sŏng. Kim Seung-ho: Face of father, portrait of Korean cinema. Korean Film Archive, 2007.

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Book chapters on the topic "History of Korean cinema"

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Lee, Hyangjin. "Nationhood and the cinematicrepresentation of history." In Contemporary Korean cinema. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141293.00008.

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Berry, Chris. "10. ALL AT SEA? NATIONAL HISTORY AND HISTORIOLOGY IN SOUL’S PROTEST AND PHANTOM,THE SUBMARINE." In New Korean Cinema. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474472579-013.

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Kim, Dong Hoon. "Migrating with the Movies: Japanese Settler Film Culture." In Eclipsed Cinema. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421805.003.0004.

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To adequately analyse Joseon cinema’s dual nature as a colonial and pseudo-national cinema against the colonial backdrop, it is indispensable to not only examine Korean elements but also consider the Japanese elements embedded in Joseon cinema. This chapter, therefore, brings to light the film culture of the Japanese settlers, a completely marginalized history in both Korean and Japanese film histories. As the author endeavours to integrate Japanese setters into my account of Joseon cinema, he makes a conscious effort to unearth some key figures from historical obscurity and narrate their stories in order to describe their seminal role in the advancement of Joseon film practices. As the chapter progresses, the discussion gradually expands to probe the overall settler film culture, including movie theatres, film programs, film criticism, and spectators, and its interactions with both Japanese film culture and the film practices of the local Koreans.
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Kim, Dong Hoon. "The Beginning: Towards a Mass Entertainment." In Eclipsed Cinema. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421805.003.0002.

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This chapter examines early film culture prior to the 1920s in order to offer a detailed historical background for the book’s exploration of the major advancement of Joseon cinema since the late 1910s. The first half of the chapter critically scrutinizes socio-political and cultural conditions that influenced the formation of early film culture in pre-colonial and colonial Korea. Equal attention is given to the collective efforts of early film entrepreneurs and exhibitors in creating film exhibition sites, including movie theatres, defining social and cultural functions of theatre space for a society devoid of theatrical tradition, and cultivating film audiences. The second half traces the activities of the first film production entity of colonial Korea: the Moving Picture Unit (MPU) of the colonial government. The author’s attempt to uncover the forgotten history of the MUP ultimately reveals the problematic of Japanese and Korean film historiographies that have pushed this crucial film unit of the empire onto the margin of film history.
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Kim, Dong Hoon. "Introducing Joseon Cinema: the Question of Film History and the Film Culture of Colonial Korea." In Eclipsed Cinema. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421805.003.0001.

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The introduction presents the main conceptual framework and historiographical methods of the book, detailing the author’s efforts to redefine the concept of the cinema of colonial Korea or “Joseon (colonial Korea) cinema.”
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Park-Primiano, Sueyoung. "Occupation, Diplomacy, and the Moving Image." In Cinema's Military Industrial Complex. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520291508.003.0013.

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This chapter, by S. Park-Primiano, examines the use of noncommercial films by the U.S. military to facilitate its diverse roles during its occupation of South Korea in the aftermath of World War II. Used by the American Military Government in Korea, educational films aided the U.S. military's efforts to Americanize the Korean population and combat Communism. Films were also used to inform and rally support for its policy in Korea from American military and civilian personnel at home as well as abroad. For this purpose, the U.S. military sought cooperation from and enlisted the assistance of Korean filmmakers in the production of films about Korean culture and history that challenge any straightforward interpretation of Americanization or a unidirectional influence. Moreover, such conflicting efforts had a long-lasting effect in South Korea. It was a practice that was continued by the succeeding information apparatus of the U.S. State Department and the United Nations during the Korean War and beyond to further expose the need for a closer examination of U.S. control of the Korean cultural imaginary.
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"Introducing Joseon Cinema: the Question of Film History and the Film Culture of Colonial Korea." In Eclipsed Cinema. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474421812-003.

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Kim, Dong Hoon. "Film Spectatorship and the Tensions of Modernity." In Eclipsed Cinema. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421805.003.0006.

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The interrogation of film spectatorship and reception continues in the last chapter, expanding the scope of the inquiry. While the colonial experience was one of many historical factors that affected Korea’s modern experiences, Korea’s colonialized status was not the sole force that directed the development of Joseon film culture. Preoccupied with the cinema’s relation to the subjects of colonial exploitation, nationalism, and national identity, however, few scholars acknowledge that colonial film-viewing was a much more compound activity marked by a range of political, cultural, and historical components that defined Korea’s overall modern experiences. In particular, in standard film history, the fascination film fans had with the cinema has yet to find its place. However, the novelty of the cinema, the pleasure of film-viewing, and the liberating effect the cinema could offer were crucial in generating varied social perceptions and debates surrounding the prominent modern culture. This chapter, therefore, explores the manner in which film spectatorship mediated and represented Korea’s complex modern experiences, focusing primarily on the association between the cinema and politics in gender and sexuality, the issue subjected to the most intense form of social discussions in relation to movie-going throughout the colonial period.
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Martin, Daniel. "Introduction." In Extreme Asia. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697458.003.0001.

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This book is a study of the Asia Extreme brand, a DVD and theatrical release label created by British film distribution company Metro-Tartan/Tartan Films. Specifically, this book offers a comprehensive history of the marketing and critical reception of this series of films from Japan, South Korea, Thailand and Hong Kong, focusing on releases in the United Kingdom between 2000 and 2005. The strategies and marketing campaigns used by Tartan Films to promote these films to a wide British audience will be examined, as will the critical and journalistic reception of the films. The following analysis seeks to account for the rise in visibility of this cycle of Japanese horror, Hong Kong action and Korean cult film in the UK, and to chart the changing contexts of their reception. In the process, this research identifies the cinematic debates, assumptions and prejudices that inform the British critical reception of ‘cult’ cinema from the Far East....
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Kim, Kyung Hyun. "Dividuated Korean Cinema." In Surveillance in Asian Cinema. Routledge, 2017. http://dx.doi.org/10.4324/9781315647708-9.

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Conference papers on the topic "History of Korean cinema"

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Funk, Walter. "History of autostereoscopic cinema." In IS&T/SPIE Electronic Imaging, edited by Andrew J. Woods, Nicolas S. Holliman, and Gregg E. Favalora. SPIE, 2012. http://dx.doi.org/10.1117/12.909410.

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Tangalyacheva, Rumiya. "FEMALE ISSUES IN KOREAN ART-HOUSE CINEMA." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s07.004.

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Nekita, A. G. "Didactic And Heuristic Potential Of American Horror Cinema." In Pedagogical Education: History, Present Time, Perspectives. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.08.02.54.

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Dolgopolova, A. G. "Soviet-North Korean relations 1945-1948." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2019. http://dx.doi.org/10.18411/spc-01-05-2019-04.

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Moon-Hyon Nam. "Early history of Korean electric light and power development." In 2007 IEEE Conference on the History of Electric Power. IEEE, 2007. http://dx.doi.org/10.1109/hep.2007.4510266.

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Jeong, Sun A. "History and cultural transformation of Korean school symbol design." In 9th Conference of the International Committee for Design History and Design Studies. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0132.

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RAMOS, Igor, and Helena BARBOSA. "The orient and the occident through cinema and film posters: A Portuguese case study." In 10th International Conference on Design History and Design Studies. Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-02_008.

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Alexeev, Anatoly. "TUNGUS-MANCHURIAN COMPONENT IN ETHNIC HISTORY AND ETHNOGENY OF KOREAN PEOPLE." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/22/s06.016.

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Jung, Lee Hee. "A Study on the Korean Culture (History) Education for Foreign Learners." In 2014 International Conference on Education Reform and Modern Management (ERMM-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/ermm-14.2014.94.

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Choi, Jungwon. "K-Design: the New Design Vision for the New Korean Government." In 9th Conference of the International Committee for Design History and Design Studies. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0086.

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Reports on the topic "History of Korean cinema"

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Kim, Jae-Jin, Hyoeun Kim, Sewon Kim, and Gerardo Reyes-Tagle. A Roadmap for Digitalization of Tax Systems: Lessons from Korea. Inter-American Development Bank, 2022. http://dx.doi.org/10.18235/0004195.

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This publication reviews the history of digitalization of tax administration in Korea dating back to the 1990s and shares the countrys experience and know-how in building an efficient e-taxation architecture. Its main emphasis is on how the Korean government managed to make the best use of a wide range of taxpayer information efficiently and securely. It highlights information security and presents three case studies of an institutional framework for using third-party data: tax schemes for credit card usage, a cash receipt system, and e-invoicing. It then lays out a range of policy implications for consideration by tax authorities in the Latin American and Caribbean region.
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