Im Kwon-Taek Hyoin Looks Into the Director’S Political Taek’S Oeuvre
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> Publications nationalism and traditionalism, Yi not argue the importance of Im Kwon- Im Kwon-Taek Hyoin looks into the director’s political taek’s oeuvre. Another is that, although views. He contends that, like other the writing is meticulously edited, if films, Fly High, Run Far: KaebyNk (1991) arguably a little turgid, the romaniza- The Making of a Korean National Cinema shows that Im has not been the socio- tion is very inconsistent, leaving many political conscience he could have been. Korean names and references unreli- For over a decade the success of Korean films on the domestic and international scene has The fact that in this film, again, a vio- able. Those primarily interested in what Review > generated an increasing readership of Korean film studies and reviews. There are, however, lent antithesis is eschewed may, Yi has been going on in Korean cinema Korea still only a handful of related works available in English. David E. James and Kyung Hyun argues, be related to the difficulties since the mid-1990s will find another Kim’s Im Kwon-Taek: The Making of a Korean National Cinema should help to fill the gap. faced by Im’s family during the Korean cause for frustration in the fact that, War and the many international politi- due to a six-year delay between the ini- By Roald H. Maliangkay Mandala (1981) and Come, Come, Come hegemonic imagery is fascinating. cal crises around the time he made it. tial submission of the papers and pub- Upward (1989) respectively. Here, Unfortunately, interpretations of what Im’s belief in humanism, tradition, lication, it contains many outdated hat sets this work apart from David James argues that Im’s partiality may or may not have been conscious and liberal democracy as a means for comments regarding the current status Wother books on Korean film that towards Snn Buddhism may explain decisions on Im’s part are too often progress is the subject of the last two of films in Korea. This collection does, have recently come out in Western lan- why he dichotomizes a sacred yet given as fact, without any supporting studies of this collection. Kyung Hyun nevertheless, offer many novel insights guages is the fact that it explores the socially indifferent landscape and a dis- comments from the director. As a Kim’s second article on the sexual vic- and fascinating observations regarding work of Korea’s foremost director, Im graced but socially involving city. He result, the studies tell us more about timization of male protagonists in Im’s the work of Im Kwon-Taek. It shows Im Kwon-Taek, head-on, without first try- finds his use of landscapes and female the authors than the director. 1994 The Taebaek Mountains forms a to be a modest, hard-working individ- ing to explain every single detail about bodies to allegorize the Korean nation In chapter five, Cho Hae Joang once welcome contrast with the studies of ual, as well as a Korean and a talented Korean culture. It looks into the ideas or the working classes contradictory, as more recounts the success of Sopyonje, Im’s feminine allegories. Kim analyses director. Although some of the con- behind Im’s films and sheds light on it risks exploiting the women visually. this time focusing on its reception in why and how this victimization signals tributors have a tendency to interpret the director’s unique position in Kore- Eunsu Cho further explores Im’s use of Korea. She relates how people from all the need for patriarchal authority. He scenes without sufficient back-up, they an cinema. The book consists of nine women as metaphors, this time in generations explained the success in explains why in this epic of the Korean all provide excellent material for further articles, an interview with the director, Adada (1988) and Surrogate Mother terms of its nationalist importance, War, Im once again leaves out simplis- discussion. I am convinced, therefore, a filmography, a handy list of important (1986). In both films, the protagonists implying that not every one enjoyed the tic depictions of war violence, focusing that it will prove to be a great resource political and cultural events, a useful are mute; their inner suffering, han, is film as much as the attention it received instead on social tensions and political to those involved in world cinema or three-page bibliography of related implied, but not articulated. When they suggests, and points out the danger of violence among locals. Han Ju Kwak’s Korean cultural studies. < sources in English, and an index. Twen- denounce the ineffective patriarchal excessive traditionalism. Julian Stringer study looks into how Im’s 1996 Festival ty-odd black-and-white photographs authority, they do so in a language of looks at the reasons behind the film’s argues the possibility of a synthesis - James, David E., and Kyung Hyun Kim that allow us to envisage the scenes are their own. Both James and Cho find failure to attract foreign audiences. between 1990s modernity and tradi- (eds.), Im Kwon-Taek: The Making of a also discussed. that although the women allegorize the Contrary to Cho Hae Joang, he favours tion. He demonstrates that, while the Korean National Cinema, Detroit: Wayne The first chapter recounts Im’s role Korean nation, the focus on their beau- the depiction of traditions when they film underscores Im’s belief in the State University Press (2002), pp.294, in the history of Korean cinema. Kyung ty risks their visual debasement. can be used to counter the hegemony reunifying power of traditions, it also ISBN 0-8143-2868-7 Hyun Kim talks of the significance of Chungmoo Choi examines the role of Western cinema, even if their effect warns against their ruthless execution. Im’s family background, the grim played by colonialism, cultural imperi- will rely upon exoticism and oriental- Im Kwon-Taek: The Making of a Dr Roald H. Maliangkay is a lecturer at the working environments under the mili- alism and nationalism, and nostalgia in ism. He argues that Im’s film, para- Korean National Cinema is a very wel- University of Amsterdam. He specializes in tary dictatorships, and the internation- Sopyonje (1993) and The Genealogy doxically, invents traditions for the pur- come addition to the volume of studies Korean folk and pop music, popular culture, al film festivals. The working condi- (1978). Her analysis of how Im’s use of, pose of increasing their appeal to on Korean film in general. I should, and cultural policy. tions are again described in the analysis for example, a particular gendering or modern society. In addition to these however, caution novices to Korean [email protected] of two of Im’s films on Buddhism, landscape often supports a counter- studies of Im’s arguably apolitical film. One reason is that this work does IIAS Newsletter | #31 | July 2003 39.