A cultural interpretation of the South Korean Independent by Nohchool Park

By Nohchool Park

A Cultural Interpretation of the South Korean autonomous Cinema stream, 1975-2004 examines the foundation and improvement of the self sustaining cinema move in South Korea. The autonomous cinema circulate refers back to the movies, movie theories, film-related cultural actions that emerged with a purpose to record social realities, to suggest the liberty of creative expression, and to symbolize the voices of marginalized social identities. My dissertation is the 1st try out in English movie scholarship on Korean cinema to discover the historical past of non-commercial filmmaking carried out within the identify of cinema circulation from Seventies to 2000s. the first assets of research for this learn contain motion pictures, books, and archive fabrics. The hitherto unpublished stories and ancient details got from the direct interviews with the self sufficient filmmakers upload originality to this dissertation. Investigating the self reliant cinema circulate deals new views at the cultural research of nationwide cinema flow and the prevailing 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 brush aside the intervening a long time of the Nineteen Seventies and eighty because the `dark age' of the nationwide cinema. Defying the traditional view, this research indicates the presence of the recent iteration of filmmakers and younger cinephiles who introduced a chain of latest cinema events from the Nineteen Seventies onward. during this regard, the Seventies can be reinterpreted because the interval that marked the genesis of the hot wave cognizance within the background of South Korean cinema. moment, this learn analyzes the historical past of the self reliant cinema move as a dialogic procedure among household cultural discourse and overseas movie theories. The filmmakers who initiated the self reliant cinema flow drew on Euro-American artwork cinemas, New Latin American Cinema, and the feminist movies from the West to include them into the household cultural context, generating the hot thoughts equivalent 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 background of South Korean cinema is verified in the closed circuit of the nationwide heritage and conventional aesthetics. My dissertation is helping create an alternate viewpoint during which to determine the development of nationwide cinema as essentially an interplay among indigenous well known discourses and foreign movie new waves. eventually, this dissertation takes into account the lively roles of the self reliant filmmakers. It examines the flicks and manuscripts produced by means of the filmmakers to determine how they invented and elaborated their positions approximately cinema stream within the given cultural box in every one interval. It will pay consciousness 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 way transformation happens from one cultural box to a different.

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Progressive intellectual in South Korea have theorized the notion of minjung in this perspective: and they have claimed themselves to be the mouthpiece of the lower-class people. Historian Kang Man-Gil traces the conceptual origin of minjung to the period of Japanese colonial rule (1910-1945). Kang notes that Shin Chae-Ho, a prominent leader of national independence movement, in his manuscript entitled The Declaration of the Korean Revolution (1923) described minjung as advanced themselves as the leading force of the national movement ( but ) as the March First Movement (March 1, 1919) demonstrated.

To the Visual Age Group (1975-1978), the contemporary state of South Korean cinema was marked only by complicity between the institutional control of the government and the commercial interests of the film industry. The authoritarian air of the government filled both the political environment as well as the film industry in which the group had to survive. 29 Ha Kil-Chong,30 a founding member of the group, argued that new cinema should not content itself with passive representations of socio-cultural phenomena, but must make efforts to lead the masses to a greater awareness of and active reflection upon the established value system and moral standards.

9 Interpreting Shin s statements, Kang maintains that minjung even petit bourgeoisie who 10 From Shin s and Kang s views, one may extract three characteristics of minjung: suffering in life, purposefulness in action, and plurality in composition. The idea of minjung drew a renewed interest from intellectual community in the 1970s when the Park Chung-Hee regime pushed industrialization drive relying on and at the expense of cheap labors provided by unskilled workers. The direful living conditions in which manual laborers, petty farmers and the urban poor were left epitomized the existential condition of minjung.

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