Relevant bibliographies by topics / New korean cinema

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'New korean cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "New korean cinema"

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Yecies, Brian, Ae-Gyung Shim, and Ben Goldsmith. "Digital Intermediary: Korean Transnational Cinema." Media International Australia 141, no. 1 (November 2011): 137–45. http://dx.doi.org/10.1177/1329878x1114100116.

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Since censorship was lifted in Korea in 1996, collaboration between Korean and foreign filmmakers has grown in both extent and visibility. Korean films have been shot in Australia, New Zealand and mainland China, while the Korean digital post-production and visual effects firms behind blockbusters infused with local effects have gone on to work with filmmakers from greater China and Hollywood. Korean cinema has become known for its universal storylines, genre experimentation and high production values. The number of exported Korean films has increased, as has the number of Korean actors starri
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Park, Heebon, and Andrew Finch. "Promoting intercultural sensitivity through New Korean Cinema films." East Asian Journal of Popular Culture 2, no. 2 (July 1, 2016): 169–91. http://dx.doi.org/10.1386/eapc.2.2.169_1.

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Teo Kia Choong, Kevin. "Old/New Korea(s): Korean‐ness, Alterity, and Dreams of Re‐Unification in South Korean Cinema." Contemporary Justice Review 8, no. 3 (September 2005): 321–34. http://dx.doi.org/10.1080/10282580500133128.

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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phe
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Lee, Nikki Ji Yeon. "New Korean Cinema, and: South Korean Golden Age Melodrama: Gender, Genre, and National Cinema (review)." Journal of Korean Studies 11, no. 1 (2006): 191–95. http://dx.doi.org/10.1353/jks.2006.0000.

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CHUNGSTEVEN and Moon-Im Baek. "Guest Editors' Introduction: New Cartographies and Archaeologies of Korean Cinema." Review of Korean Studies 18, no. 1 (June 2015): 7–12. http://dx.doi.org/10.25024/review.2015.18.1.001.

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Klein, Christina. "The AFKN nexus: US military broadcasting and New Korean Cinema." Transnational Cinemas 3, no. 1 (May 22, 2012): 19–39. http://dx.doi.org/10.1386/trac.3.1.19_1.

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HyoIn Yi. "Coevolution of Conventions and Korean New Wave: Korean Cinema in the 1970s and 80s." Korea Journal 59, no. 4 (December 2019): 78–102. http://dx.doi.org/10.25024/kj.2019.59.4.78.

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Chung, Hye Seung. "Multiculturalism as “New Enlightenment”: The Myth of Hypergamy and Social Integration in Punch." Journal of Korean Studies 23, no. 1 (March 1, 2018): 135–52. http://dx.doi.org/10.1215/21581665-4339089.

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Abstract This article examines the commercially successful multicultural film Punch (Wan-dŭk i, Yi Han, 2011) as an example of new “enlightenment” (kaemong) cinema, one that—like its precedents in the South Korean Golden Age cinema of the 1950s and 1960s—supports the official government policy. While classic enlightenment films made during the Cold War era endorsed state-sanctioned narratives of anticommunism, modernization, and development, Punch toes the line of the South Korean government’s millennial project of multiculturalism (tamunhwa). Despite its intent to create a hopeful, affirmativ
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Juknevičiūtė, Laima. "The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania." Acta Orientalia Vilnensia 12, no. 1 (January 1, 2011): 121–37. http://dx.doi.org/10.15388/aov.2011.0.1100.

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Vytautas Magnus UniversitySouth Korea’s experience wielding soft power is usually associated with the Korean Wave, which swept the Asian region off its feet predominantly during the first decade of this century. In this article I will however argue that the phenomenon of the Korean Wave has never been intended as a calculated attempt on the part of the South Korean government to enhance the overall South Korean image worldwide and thus increase South Korean international might and prestige. To prove the validity of this hypothesis, I will provide a concise historical overview of the inception,
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Dissertations / Theses on the topic "New korean cinema"

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Shin, Jeeyoung. "Negotiating local, regional, and global nationalism, hybridity, and transnationalism in New Korean Cinema /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3344598.

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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2008.<br>Title from PDF t.p. (viewed on Oct. 6, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0401. Adviser: Barbara Klinger.
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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.
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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
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Turner, James Lloyd. "Monstrous Dialogues: THE HOST and South Korean Inverted Exile." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4244.

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Bong Joon-ho‟s monster movie blockbuster, The Host (Gweomul, 2006), is the most commercially successful film in South Korean cinema history. The film‟s popularity and significance derive from its unearthing of the ambivalence concerning South Korea‟s rapid transformation from a rural dictatorship to an urban democracy with one of the strongest economies on the planet. This ambivalence is buried beneath a veneer of "progress" blanketing contemporary South Korea and constitutes a condition I call inverted exile. The Host explicitly engages life in inverted exile through my notion of aesthetic di
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Hong, Sora. "La génération des centres culturels (Munhwawon sedae) et la nouvelle vague du cinéma sud-coréen des années 1980-1990." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0051.

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Depuis les années 1980, la Corée du Sud a observé un processus de légitimation culturelle du cinéma. En prenant appui sur ce phénomène, cette thèse attire l’attention sur le rôle des cinéphiles regroupés sous l’expression, « Munhwawon sedae » : la génération des centres culturels. Dans cette thèse, nous la définissons comme un réseau social de cinéphiles sud-coréens qui émerge à partir de la fréquentation des centres culturels européens à Séoul sur une période qui s’étend entre 1977 et 1984. Notre analyse de ce réseau s’appuie sur une méthode prosopographique permettant d’apprécier les rapport
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Cho, Kyoung-Hee. "Le « Cinéma ouvert » de Jang Sun-Woo." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA063.

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Notre travail se consacre à l’étude exhaustive de l’œuvre cinématographique et théorique du cinéaste coréen contemporain Jang Sun-woo. Celui-ci fut d’abord un critique et un théoricien du cinéma, son concept de « Cinéma ouvert » (1982) vise à introduire et à penser un « nouveau cinéma ». Jang Sun-woo souligne le besoin d’une critique, d’une invention formelle et aussi d’une théorie pour le cinéma coréen saisie dans la logique de son Histoire. En particulier, le cinéaste coréen s’y positionne pour réaliser un cinéma en vue de l’harmonie entre l’individu et la communauté.Le « Cinéma ouvert » est
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Books on the topic "New korean cinema"

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Korean cinema: The new Hong Kong : a guidebook for the latest Korean New Wave. Victoria, B.C: Trafford, 2002.

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Chi-Yun, Shin, and Stringer Julian 1966-, eds. New Korean cinema. New York: New York University Press, 2005.

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Chi-Yun, Shin, and Stringer Julian 1966-, eds. New Korean cinema. Edinburgh: Edinburgh University Press, 2005.

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New Korean Cinema Breaking The Waves. Wallflower Press, 2010.

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Paquet, Darcy. New Korean Cinema: Breaking the Waves. Columbia University Press, 2010.

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Leong, Anthony. Korean Cinema: The New Hong Kong. Trafford Publishing, 2006.

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Jin, Dal Yong. Cultural Globalization in Korean Cinema. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0004.

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This chapter examines the swift change experienced by the Korean film industry in conjunction with the Korean Wave. It investigates the primary causes of the roller coaster-like shifts within Korean cinema, including government cultural policies due to the significant role of the government in the midst of neoliberal globalization. It then maps out the nature of cultural hybridity in domestic films by comparing hybridized films between the Hallyu 1.0 era and the Hallyu 2.0 era. By textually analyzing film genres and themes of 240 films produced domestically between 1989 and 2012, the chapter e
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Bettinson, Gary, and Daniel Martin. Introduction. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0001.

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This introduction to Hong Kong Horror Cinema introduces Hong Kong horror from a variety of perspectives, charting the history and development of the genre and citing key films and filmmakers; it puts Hong Kong horror in the context of East Asian horror more broadly, discussing some of the cultural specificities of Hong Kong horror that differentiate it from the popular and historical horror cycles from Japan, South Korea, Thailand and China; it provides a brief overview of horror studies within the field of academic theory, and suggests ways in which Hong Kong horror films can contribute new p
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Parreñas Shimizu, Celine. The Proximity of Other Skins. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190865856.001.0001.

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Transnational films representing intimacy and inequality disrupt and disgust Western spectators. When wounded bodies within poverty entangle with healthy wealthy bodies in sex, romance and care, fear and hatred combine with desire and fetishism. Works from the Philippines, South Korea, and independents from the United States and France may not be made for the West and may not make use of Hollywood traditions. Rather, they demand recognition for the knowledge they produce beyond our existing frames. They challenge us to go beyond passive consumption, or introspection of ourselves as spectators,
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Choi, Jinhee, ed. Reorienting Ozu. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.001.0001.

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Reorienting Ozu: A Master and His Influence offers new perspectives on Ozu Yasujiro and his influence on global art cinema directors. Ozu has been admired both by film scholars and filmmakers around the globe, having been at the center of significant scholarly debates, and being considered by many as a precursor of an aesthetic legacy and sensibility explored in the global art scene. By situating Ozu within the proper historical and discursive contexts, and thereby breaking with essentialist, traditionalist, and formalist readings of him, this volume helps to initiate a new theorizing and hist
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Book chapters on the topic "New korean cinema"

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"II. New Korean Cinema Auteurs." In The Remasculinization of Korean Cinema, 131–230. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822385585-004.

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"Select Filmography of Major Directors of the New Korean Cinema." In The Remasculinization of Korean Cinema, 313–19. Duke University Press, 2004. http://dx.doi.org/10.1215/9780822385585-016.

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"Select Filmography of Major Directors of the New Korean Cinema." In The Remasculinization of Korean Cinema, 313–20. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822385585-007.

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"SELECT FILMOGRAPHY OF MAJOR DIRECTORS OF THE NEW KOREAN CINEMA." In The Remasculinization of Korean Cinema, 313–20. Duke University Press, 2004. http://dx.doi.org/10.2307/j.ctv11cw5t0.18.

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"The Manchurian Action Film: A New Anticolonial Imaginary in the Cold War Context." In Parameters of Disavowal: Colonial Representation in South Korean Cinema, 52–75. University of California Press, 2018. http://dx.doi.org/10.1525/luminos.51.d.

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"The New Korean Cinema Looks Back To Kwangju: The Old Garden And May 18." In Korea Yearbook (2008), 171–98. BRILL, 2008. http://dx.doi.org/10.1163/ej.9789004169791.i-276.60.

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Ma, Ran. "A Landscape Over There." In Independent Filmmaking across Borders in Contemporary Asia. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462986640_ch02.

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This chapter examines three border-crossing films by the Korean-Chinese (chaoxianzu) filmmaker Zhang Lu, namely Desert Dreams (2008), Dooman River (2010), and Scenery (2013). Using the conceptual framework of translocality, this study first explores how Zhang, as a translocal auteur, leveraged his multi-layered identities to engage the global film festival network. Not only does Zhang reinvent the border as a new scale to scrutinize the translocal movement of deterritorialized subjects and diasporic peoples, he also sheds light on the significance of place in identity formation and further examines the power geometry of globalization. As such, Zhang’s translocal filmmaking both intersects and challenges us to rethink Chinese independent filmmaking and Korean diasporic cinema.
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Barker, Thomas. "Audiences without Cinemas." In Indonesian Cinema after the New Order, 138–64. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528073.003.0006.

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Indonesia remains underserviced by cinemas with a comparatively low cinema to population ratio. For much of the late New Order and after reformasi, exhibition remained dominated by the 21 Group, a crony company with film import monopoly rights. Recently, new investment has flowed into exhibition from the Blitzmegaplex company which is revealed to be well connected to New Order military figures. More recently new players have entered the industry including South Korea’s CGV who bought Blitz, the domestic conglomerate Lippo, and Raam Punjabi’s Platinum Cineplex chain, introducing both competition and global capital into the sector.
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Turnock, Bryan. "Asian Horror." In Studying Horror Cinema, 119–38. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0007.

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This chapter details how the mid-1990s saw a substantial increase in the number of horror films being produced in Asian countries, and in particular Japan and Korea. At the same time, globalisation and the introduction of worldwide distribution channels meant that such films became much more accessible to western audiences, with the surprise success of Hideo Nakata's Ringu (1998) bringing Japanese horror into the mainstream of western cinema. Often used to describe genre films from across Asia, so-called 'J-Horror' is now a recognised sub-genre in the west, with a number of scholarly books dedicated to its analysis. Although many of the more recent films feature modern trappings and a preoccupation with technology, they draw heavily from Japan's long tradition of folklore and ghost stories, while stylistically referencing the aesthetics of traditional Japanese theatre. The chapter considers Masaki Kobayashi's Kaidan (Kwaidan, 1964). It traces the evolution of Japan's unique national film industry and examines how cultural differences can affect genre production and consumption.
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Beng Huat, Chua. "Pop Culture as Soft Power." In Structure, Audience and Soft Power in East Asian Pop Culture. Hong Kong University Press, 2012. http://dx.doi.org/10.5790/hongkong/9789888139033.003.0008.

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Pop culture has emerged has a vehicle of soft power and an arena for competition in cultural diplomacy between China, Japan and Korea. As a middle-power, Korea is the most self-conscious about turning the popularity of its pop culture into an instrument to influence its consumers in Japan and, especially China. Japan’s ability to exercise cultural influence is limited by the potential push-back from memories its colonization of Korea and war time atrocities in China. With a nascent media industry, China is currently at a disadvantage because it is a net importer of pop culture; however, its massive consumption power has begun to force foreign producers to seek co-production opportunities with Chinese companies in order to avoid being kept out by import restrictions imposed by the Chinese government. Co-production gives the Chinese counterparts the right to control the content of the programs, than an ideological advantage. In view of the soft power competition, the idea of pan-East Asian cinema seems to be a project deferred rather than one that is imminent.
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