By Nohchool Park
A Cultural Interpretation of the South Korean autonomous Cinema stream, 1975-2004 examines the starting place and improvement of the autonomous cinema flow in South Korea. The autonomous cinema move refers back to the movies, movie theories, film-related cultural actions that emerged which will record social realities, to suggest the liberty of inventive 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 carried out within the identify of cinema flow from Seventies to 2000s. the first resources of research for this examine contain motion pictures, books, and archive fabrics. The hitherto unpublished stories and ancient details got from the direct interviews with the self sustaining filmmakers upload originality to this dissertation. Investigating the autonomous cinema flow bargains new views at the cultural examine of nationwide cinema move and the present scholarship of South Korean cinema. This dissertation questions the dominant historiography relating to 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 push aside the intervening many years of the Nineteen Seventies and eighty because the `dark age' of the nationwide cinema. Defying the normal view, this examine indicates the presence of the recent new release of filmmakers and younger cinephiles who introduced a chain of recent cinema routine from the Seventies onward. during this regard, the Nineteen Seventies might be reinterpreted because the interval that marked the genesis of the hot wave attention within the heritage of South Korean cinema. moment, this learn analyzes the background of the self reliant cinema stream as a dialogic technique among family cultural discourse and international movie theories. The filmmakers who initiated the autonomous cinema stream drew on Euro-American paintings cinemas, New Latin American Cinema, and the feminist movies from the West to include them into the household cultural context, generating the hot strategies comparable 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 background and conventional aesthetics. My dissertation is helping create an alternate standpoint wherein to work out the development of nationwide cinema as essentially an interplay among indigenous well known discourses and overseas movie new waves. eventually, this dissertation takes under consideration the lively roles of the self reliant filmmakers. It examines the movies and manuscripts produced via the filmmakers to work out how they invented and elaborated their positions approximately cinema stream within the given cultural box in each one interval. It can pay cognizance 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 learn additionally investigates the best way transformation happens from one cultural box to a different.
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Additional resources for A cultural interpretation of the South Korean Independent Cinema Movement, 1975-2004
35. , The Visual Age [ , 1975), , ] 35 The following is the filmography of the Visual Age Group: Woods and Swamp ( , Hong Pa, 1975), Flower and Snake (Kkot gua Baem, Lee Won-Se, 1975), California 90006 (Kaeliponia 90006, Hong Eu-Bong, 1976), Alright, Alright, Today is Fine ( , Lee Jang-Ho, 1976), I am Looking for a Wife ( , Ha Kil-Chong, 1976), The Street of Women ( , Kim Ho-Sun, 1976), When Will We Meet Again? ( Mannari, Hong Pa, 1977), The Ascension of Hannae ( , 1977), The Winter Woman ( , 1977), Day and Night of Komerican (Komerikan eu Nat gua Bam, Hong Eu-Bong, 1977), Fire (Bul, Hong Pa, 1978).
Appears as a social commentary that pronounces the inhumane anonymity of urban life. A schoolboy is desperately looking for a rest room, stepping in and out of buildings he encounters on his way home. But every bathroom the boy is lucky to find is locked, and his attempts of urination on the roadside are spotted and stopped by adult passers- e pictures of shop windows that display garish ornaments. The message is clear that despite its ostensible abundance, capitalism is unable to meet even the most fundamental of human needs.
P. 37. , pp. 89-91, 104-106. , p. 185. , p. 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.
A cultural interpretation of the South Korean Independent Cinema Movement, 1975-2004 by Nohchool Park