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By Nohchool Park

A Cultural Interpretation of the South Korean self sustaining Cinema flow, 1975-2004 examines the foundation and improvement of the self sufficient cinema circulation in South Korea. The self sufficient cinema stream refers back to the motion pictures, movie theories, film-related cultural actions that emerged which will rfile social realities, to recommend the liberty of creative expression, and to symbolize the voices of marginalized social identities. My dissertation is the 1st test in English movie scholarship on Korean cinema to discover the background of non-commercial filmmaking performed within the identify of cinema stream from Nineteen Seventies to 2000s. the first assets of research for this examine contain movies, books, and archive fabrics. The hitherto unpublished thoughts and historic info got from the direct interviews with the self sustaining filmmakers upload originality to this dissertation. Investigating the self reliant cinema flow bargains new views at the cultural examine of nationwide cinema stream and the present scholarship of South Korean cinema. This dissertation questions the dominant historiography concerning South Korean cinema which facilities at the Nineteen Sixties because the `golden age' of South Korean cinema and the Nineties as its renaissance. This place has a tendency to brush off 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 indicates the presence of the hot iteration of filmmakers and younger cinephiles who introduced a chain of recent cinema events from the Nineteen Seventies onward. during this regard, the Seventies might be reinterpreted because the interval that marked the genesis of the recent wave realization within the historical past of South Korean cinema. moment, this examine analyzes the historical past of the self sustaining cinema move as a dialogic method among family cultural discourse and international movie theories. The filmmakers who initiated the self reliant cinema move drew on Euro-American artwork cinemas, New Latin American Cinema, and the feminist motion pictures from the West to include them into the household cultural context, generating the hot techniques resembling the Small movie, the People's Cinema and the woman's movie. This truth demanding situations the nationwide cinema discourse which presupposes that the historical past of South Korean cinema is verified in the closed circuit of the nationwide background and standard aesthetics. My dissertation is helping create an alternate standpoint during which to determine the development of nationwide cinema as essentially an interplay among indigenous renowned discourses and foreign movie new waves. ultimately, this dissertation takes into account the lively roles of the autonomous filmmakers. It examines the movies and manuscripts produced by way of the filmmakers to work out how they invented and elaborated their positions approximately cinema circulate 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 building, this examine additionally investigates the way transformation happens from one cultural box to a different.

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Extra resources for A cultural interpretation of the South Korean Independent Cinema Movement, 1975-2004

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Director Yu Hyun-Mok Aimless Bullet ( An , 1961), for example, attested to the existence of genuine native realism by depicting the poverty and hopelessness of the nation after the Korean War. Director Kim KiYong The Housemaid ( , 1960), on the other hand, presents virulent sexual fantasies sustained by hybrid stylistics that 4 Indeed, both filmmakers kept expanding their styles - realism and modernism respectively - in the ensuing decades, but the origin of their creativities is rooted in the vibrant atmosphere of the sixties.

The festival actually garnered enthusiastic responses from South Korean art community, especially from those liberals who opposed the military regime: Park Bul-Tong, a renowned leftwing painter and woodblock artist, contributed a drawing to decorate the front page of the festival pamphlet. As such, the Small Film Festival was an unprecedented cinematic event that affirmed the viability of non-commercial filmmaking and created a common bond among the young cine-artists. Underneath the façade of festivity, however, the Small Film Festival filled itself with its own patricidal desire that reflected the Oberhausen Manifesto.

7. 17 Ibid. , p. 39. , p. 36. , p. 45. , pp. 270-271. 23 Park Ji-Yeon, The policies and industry of South Korean cinema in the 1960sKorean Cinema History 1960-1979 (Seoul: KOFA, 2004), pp. 166-167. , 182. 25 The national policy film system was installed in 1975 and the quality film system in 1976. South Korean film scholar Park Chi-Hee government had been put into crisis due to challenges within and without since 1975. (See Park ChiKorean cinema in the 1960sA Study of South Korean Cinema History 1960-1979] (Seoul: KOFA, 2004), pp.

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