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Full Description
As shown by the success of Squid Game and Parasite, South Korea's film industry is producing films and original series for streaming services, film studios, and television stations worldwide. South Korea is now arguably considered one of the few countries outside the United States to have captivated the world's hearts and minds through pop music, TV dramas, and film. Similarly, the exponential growth in the South Korean film industry has been mirrored by a growing body of industry and film policy forums and academic conferences in both the East and the West.
The South Korean Film Industry is the first detailed scholarly overview of the South Korean film industry. The thirteen chapters discuss topics from short films to popular television series that have engaged global audiences. Contributors explore the major changes in South Korean film making, marketing, and in the international growth and popularity of South Korean films. By bringing together a wide range of academic specialists, The South Korean Film Industry situates the current scholarship on South Korean cinema within the ongoing theoretical debates in contemporary global film studies. This volume will be widely read in undergraduate and graduate classes related to Korean and East Asian studies, cinema and media studies, cultural studies, and communication studies. Moreover, many institutions offer dedicated modules on South Korean cinema, media, and popular culture, for which The South Korean Film Industry will be ideal.
Contents
Table of Contents
Chapter 1
The South Korean Film Industry: An Introduction
Sangjoon Lee, Dal Yong Jin, and Junhyoung Cho
Part 1: History, Policy, and Structure of the Industry
Chapter 2
A Brief History of the Korean Film Industry
CHO Junhyoung (Korean Film Archive)
Chapter 3
South Korea's Film Policy (1993-2020)
CHO Junhyoung (Korean Film Archive)
Chapter 4
Production, Distribution, and Exhibition
Dal Yong Jin (Simon Fraser University)
Part 2: Industry Dynamics
Chapter 5
The Korean Film Industry's Ambivalent Relationship to the Studio System
Jason Bechervaise (Independent Scholar)
Chapter 6
The South Korean Animation Industries:
Invisible Labor, Consumer Nationalism, and Global Ambitions
Daniel Martin (KAIST)
Chapter 7
The Korean Film Industry and Chinese Cinema:
VFX, Dexter Studios and The Monkey King Series
Nikki J.Y. Lee (Nottingham Trent University)
Chapter 8
Challenges and Changes Facing Korean Cinema in the Multi-Platform Era
Joyce Cho (Chung-Ang University)
Part 3: Film Cultures
Chapter 9
Festival or Box Office? The Critical Reception of Spring in My Hometown and the debate over the future direction of South Korean Cinema 1998-1999.
Andrew David Jackson (Monash University)
Chapter 10
BIFF and the City: Film, Festival, and Urban Regeneration in Busan
Simone Shu-Yeng Chung (National University of Singapore)
Chapter 11
Seven Reasons to Make Short Films in South Korea
Julian Stringer (University of Nottingham)
Part 4: International Territories
Chapter 12
Transnational Film Relationships Between South Korea and Europe (2005-2018)
Sonia Dueñas Mohedas (Universidad Carlos III de Madrid)
and Luis-Miguel Machin-Martin (Universidad de La Laguna)
Chapter 13
Seoul, Hong Kong, and Beijing: The South Korean Film Industry and the Chinese Film Market
Sangjoon Lee (Lingnan University)
Chronology of the Korean Film Industry
Junhyoung Cho and Sangjoon Lee
