South Korean Golden-Age Comedy Film: Industry, Genre, and Popular Culture (1953 -1970)

Total Page:16

File Type:pdf, Size:1020Kb

South Korean Golden-Age Comedy Film: Industry, Genre, and Popular Culture (1953 -1970) SOUTH KOREAN GOLDEN-AGE COMEDY FILM: INDUSTRY, GENRE, AND POPULAR CULTURE (1953 -1970) BY CHUNG-KANG KIM DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor Nancy Abelmann, Chair Associate Professor Ramona Curry Professor Ronald Toby Assistant Professor Theodore Hughes, Columbia University Assistant Professor Jinsoo An, Hong-ik University ABSTRACT This dissertation, “South Korean Golden-Age Comedy Film: Industry, Genre, and Popular Culture (1953 -1970),” examines the socio-cultural and political aspects of comedy films made in South Korea in the 1950s and 1960s, the era in which the South Korean nation mobilized in the name of “development” and “progress.” Comedy film enjoyed particular growth and popularity during the post-war reconstruction movement (late 1950s) when the film industry began to take shape; the democratic social atmosphere in the aftermath of the April Revolution (1960) enveloped the whole society; and the government-centered film industry waned with the dawn of Yushin, President Park Chung Hee’s drastic measures to control the society (1971). While operating at a far remove from the depressing images of post-War devastation and the propaganda images of the South Korean totalitarian regime, comedy film was both incredibly popular, and can be appreciated as a politically maneuvered genre. I trace the socio-political and industry origins of the production of the comedy film genre, and examine its cultural contexts and effects through the Syngman Rhee regime (1948-1960) to the April Revolution, and into the pre-Yushin Park Chung Hee era (1961-1970). I argue that structural changes in the South Korean film industry, especially its highly gendered and state-orchestrated consolidation, were critical to the image production, film language, and frame and narrative structures of comedy films. On the other hand, the style of comedy film -- distinguished by its remarkable generic hybridity and considerable transnational circulation -- appealed to the Korean audience. The comedies combine colonial popular performance (e.g., akkŭk, a Japanese-influenced, Korean style vaudeville), the visual techniques and mise-en-scène of Classical Hollywood film, and the star-power of comedians. Transnational ii and cross-cultural fantasy, I argue that, is disjunctively combined with didactic/state-centered descriptions of family and gender, and thus, comedy films both satisfied and disciplined the industrial, national, and popular needs of immediate post-colonial South Korean society as it struggled to cultivate a modern developed nation. iii To Woo-jeung, Ju-hyup, Sa-rang and Suah iv ACKNOWLEDGEMENTS This dissertation could not have been completed without the support of countless people. My advisor, Prof. Nancy Abelmann, was an incredible teacher and role-model as both a scholar and a mother of three kids. I feel the limits of language in expressing my gratitude to her. Thinking back to my early days of graduate school, when I was not particularly passionate about anything in life, I remember how my love of Korean film started in her film course and has grown under her warm love and support. Her enduring guidance, patience, and generosity are the main reasons why I have this dissertation in hand. My special thanks also goes to Prof. Ramona Curry who let me embark on film studies, nurtured me to become a film specialist, and shared the joys of comedy films from the beginning stages of my graduate studies to their end. I was also lucky to work closely with Prof. Theodore Hughes before he left for Columbia University. I am greatly indebted to his generosity and keen comments on my project. Professor Jinsoo An is another generous scholar who guided my long journey through Korean film studies. I also learned a lot from Prof. Ronald Toby’s teaching of visual theory. Prof. Jahyun Kim Haboush was a warm ground to rest on for the first two years of my graduate study at Illinois, before she also left for Columbia University. Finally, I want to express my gratitude to the Japanese Studies professors, David Goodman, Azuko Ueda, and Kevin Doak, who all helped me to expand the horizons of my study. Through Prof. Nancy Abelmann’s advisee group and the Korea Workshop, I could meet many Koreanists who nurtured me in many ways. There are also friends in Illinois who have nurtured and sustained me for many years. Hyunhee An, Hyongju Hur, Eugene Chung, Chungjoo v Lee, Sejong Moon, Sangsook Lee-Chung, Jin-kyong Park—I thank all of them for their friendship and love when I was in need. I am especially indebted to Chris Posadny and his reading of numerous manuscripts of this dissertation. My new colleagues and friends at the University of Colorado, Boulder encouraged me greatly as I put the final touches to this dissertation. I also thank John Cho for his excellent final editorial assistance. I also want to express my gratitude to the people in Korea. Most of all, Prof. Kie-chung Pang’s unconditional love for me from my freshmen year at Yonsei University to his untimely death in 2008, a month before my dissertation defense, has been the enormous spiritual ground of my study in the United States. I am also indebted to the Korean Popular Culture Study Group during my three-year research period in Korea. I want to express my special thanks to the leading members of this group, Yi Young-mi, Yi Sun-jin, Yi Ho-gǒl, and Kang Ok-hǔi. Watching films and reading and writing books together was the greatest joy of my research years. I also thank the film director, Yi Hyǒng-p’yo, for showing such warm interest in my research ever since I interviewed him in 2006. I also thank many people at the Korean Film Archive. Finally and foremost, my family and extended family were my greatest source of strength. My mother, Young-sook Sung, and my mother-in-law, Sook-ja Lee, often babysat for me. Without their help, I might have not continued to write this dissertation. I would like to extend my heartfelt thanks to my husband, Woo-jeung Dang, and my kids, Ju-hyup, Sa-rang and Suah, who have had to endure many days when I was not with them, and who have waited for the completion of this dissertation with the greatest patience. I dedicate this work to them. vi TABLE OF CONTENTS INTRODUCTION……………………………………………………………………………….1 Part I: THE HISTORY CHAPTER ONE: From Destruction to Construction: Golden-Age South Korean Cinema…………………………………………………………………………………………..13 The Making of an Anti-communistic Democratic Nation……………………………….....15 National Reconstruction of Cinema: Colonial Origins and Anti-colonial Discourse………26 Rescuing Cinema from Post-War Destruction……………………………………………...35 The Beginning of the Golden-Age…………………………………………….……….......41 PART II: THE 1950’S AND COMEDY FILM CHAPTER TWO: The Politics of Comedy Film Production……………..……………….46 Il-sa-il-chak, the Defect of National Culture………………………………...….………...47 The “Low-Quality” Problem…………………………………………………...………….50 The Need for Industrialization and Modernization…………………………………...…...56 From Akkŭk Industry to “Genre” Cinema……………..………………………………60 Cinema as National Asset………………………………...……...……...………………...68 The Politics of “Pure Entertainment” in an Anti-communistic Authoritarian Regime……74 CHAPTER THREE: The Forgotten Genre: The Aesthetics of Anarchistic Comey……....85 Korean “Cinema of Attraction”: Popular Consumption of Anarchistic Comedy………….87 Modernity of Anarchistic Comedy Film..…………………………………………..….…..92 The Punctuating Pleasure of Akkǔk….……………………….…………………………..98 The Visual Pleasure of Hollywood Cinema.………………….……………………….….104 Desiring Hollywood……………….……………...……………………………………....108 Comic Realism: Re-reading The Double Arc of Youth…………………….……...….…...118 PART III: THE 1960’S AND COMEDY FILM CHAPTER FOUR: The Euphoria of Democracy, Modernity as Ours….…….…….……126 The April Revolution and the Democratizing Movement……………….....……….…….131 Screening Resistance? “Realistic” Style in Question…………………………………….139 The Film Industry’s Free Market System.………………………………………...……...143 Technology Wars……………………………..……………………….………………..…148 Talking and Visualizing South Korean Modernity.…………………………………..…...154 CHAPTER FIVE: The Sign of Demise: Late 1960’s “Gender Comedy Films”.…………..169 The Demise of the Golden-Age and Emergence of B films………...……………...…..172 How Were B Films Made?.…………….………………….………….………….…...…178 The Rise of Gender Comedy.………………………………………………….……..184 Suturing Gender…………………………………………………………………………..191 vii Class Troubles……………...……………………………………………………………..195 The Strong Shield: Didactism and Nation in Gender Comedy…………..…….…………201 CONCLUSION: Why Do We Still Watch Comedy Films?……………………………….208 BIBLIOGRAPHY……………………………………………………………………………..214 viii INTRODUCTION This dissertation’s point of departure was my intellectual curiosity about a series of sensational film titles—Male Maid (Namja singmo, 1967), Male Hostess (Namja kisaeng, 1968) and Male Hairdresser (Namja miyongsa, 1968) —produced in the late 1960s in South Korea. When I first visited the Korean Film Archive in the summer of 2002 for pre-dissertation research, —in stark contrat to today’s developed facilities, I found only a few copies of old Korean film videotapes that were available to the public, and I only knew about this series of films only by title. Luckily enough, I found some videotapes of these films that an old Korean movie fan donated for film studies, and thus, I had the opportunity to watch over one hundred old Korean films. When I first watched these films that were coarsely recorded from regional television programs, I could not but be disappointed by their filmmaking quality. At the same time, however, somehow these unique films fascinated me. I laughed because of the strange and funny performance of old comedians as well as the strange meeting of didactism and comedic episodes. Then, I came to learn that these titles were part of a larger corpus of films that I call “gender comedy,“ which first appeared on the South Korean film scene in the mid-1960s, including titles such as I Prefer Being A Woman (Yǒjaga tǒ cho’a, 1965) and Bachelor Kimch’i (Ch’onggak kimch’i, 1966).
Recommended publications
  • The University of Chicago Tears in the Imperial Screen
    THE UNIVERSITY OF CHICAGO TEARS IN THE IMPERIAL SCREEN: WARTIME COLONIAL KOREAN CINEMA, 1936-1945 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF EAST ASIAN LANGUAGES AND CIVILIZATIONS BY HYUN HEE PARK CHICAGO, ILLINOIS AUGUST 2017 TABLE OF CONTENTS Page LIST OF TABLES ...…………………..………………………………...……… iii LIST OF FIGURES ...…………………………………………………..……….. iv ABSTRACT ...………………………….………………………………………. vi CHAPTER 1 ………………………..…..……………………………………..… 1 INTRODUCTION CHAPTER 2 ……………………………..…………………….……………..… 36 ENLIGHTENMENT AND DISENCHANTMENT: THE NEW WOMAN, COLONIAL POLICE, AND THE RISE OF NEW CITIZENSHIP IN SWEET DREAM (1936) CHAPTER 3 ……………………………...…………………………………..… 89 REJECTED SINCERITY: THE FALSE LOGIC OF BECOMING IMPERIAL CITIZENS IN THE VOLUNTEER FILMS CHAPTER 4 ………………………………………………………………… 137 ORPHANS AS METAPHOR: COLONIAL REALISM IN CH’OE IN-GYU’S CHILDREN TRILOGY CHAPTER 5 …………………………………………….…………………… 192 THE PLEASURE OF TEARS: CHOSŎN STRAIT (1943), WOMAN’S FILM, AND WARTIME SPECTATORSHIP CHAPTER 6 …………………………………………….…………………… 241 CONCLUSION BIBLIOGRAPHY …………………………………………………………….. 253 FILMOGRAPHY OF EXTANT COLONIAL KOREAN FILMS …………... 265 ii LIST OF TABLES Page Table 1. Newspaper articles regarding traffic film screening events ………....…54 Table 2. Newspaper articles regarding traffic film production ……………..….. 56 iii LIST OF FIGURES Page Figure. 1-1. DVDs of “The Past Unearthed” series ...……………..………..…..... 3 Figure. 1-2. News articles on “hygiene film screening” in Maeil sinbo ….…... 27 Figure. 2-1. An advertisement for Sweet Dream in Maeil sinbo……………… 42 Figure. 2-2. Stills from Sweet Dream ………………………………………… 59 Figure. 2-3. Stills from the beginning part of Sweet Dream ………………….…65 Figure. 2-4. Change of Ae-sun in Sweet Dream ……………………………… 76 Figure. 3-1. An advertisement of Volunteer ………………………………….. 99 Figure. 3-2. Stills from Volunteer …………………………………...……… 108 Figure.
    [Show full text]
  • GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
    Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months.
    [Show full text]
  • Yun Mi Hwang Phd Thesis
    SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY Yun Mi Hwang A Thesis Submitted for the Degree of PhD at the University of St Andrews 2011 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1924 This item is protected by original copyright This item is licensed under a Creative Commons Licence SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY YUN MI HWANG Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2011 DECLARATIONS I, Yun Mi Hwang, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student and as a candidate for the degree of PhD in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. I, Yun Mi Hwang, received assistance in the writing of this thesis in respect of language and grammar, which was provided by R.A.M Wright. Date …17 May 2011.… signature of candidate ……………… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree.
    [Show full text]
  • Masaaki Hatsumi and Togakure Ryu
    How Ninja Conquered the World THE TIMELINE OF SHINOBI POP CULTURE’S WORLDWIDE EXPLOSION Version 1.3 ©Keith J. Rainville, 2020 How did insular Japan’s homegrown hooded set go from local legend to the most marketable character archetype in the world by the mid-1980s? VN connects the dots below, but before diving in, please keep a few things in mind: • This timeline is a ‘warts and all’ look at a massive pop-culture phenomenon — meaning there are good movies and bad, legit masters and total frauds, excellence and exploitation. It ALL has to be recognized to get a complete picture of why the craze caught fire and how it engineered its own glass ceiling. Nothing is being ranked, no one is being endorsed, no one is being attacked. • This is NOT TO SCALE, the space between months and years isn’t literal, it’s a more anecdotal portrait of an evolving phenomenon. • It’s USA-centric, as that’s where VN originates and where I lived the craze myself. And what happened here informed the similar eruptions all over Europe, Latin America etc. Also, this isn’t a history of the Japanese booms that predated ours, that’s someone else’s epic to outline. • Much of what you see spotlighted here has been covered in more depth on VintageNinja.net over the past decade, so check it out... • IF I MISSED SOMETHING, TELL ME! I’ll be updating the timeline from time to time, so if you have a gap to fill or correction to offer drop me a line! Pinholes of the 1960s In Japan, from the 1600s to the 1960s, a series of booms and crazes brought the ninja from shadowy history to popular media.
    [Show full text]
  • D2492609215cd311123628ab69
    Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films.
    [Show full text]
  • Conference Reports – June 2012
    Scope: An Online Journal of Film and Television Studies Issue 23 June 2012 Conference Reports – June 2012 Table of Contents East Winds: East Asian Cinema and Cultural Crossovers Symposium A report by Pierce Conran ...................................................................... 2 SCMS 2012: Society for Cinema and Media Studies Conference A report by Joan Dagle .......................................................................... 6 Contemporary Psychoanalysis, Literature and Film Symposium A report by Joanna Kellond .................................................................. 11 Monsters: Subject, Object, Abject A report by Ian Pettigrew .................................................................... 16 1 Conference Reports East Winds: East Asian Cinema and Cultural Crossovers Symposium Coventry University, Coventry, 2–3 March 2012 A report by Pierce Conran, Modern Korean Cinema (modernkoreancinema.com), Seoul, South Korea The “East Winds: East Asian Cinema and Cultural Crossovers Symposium”, held at Coventry University and organized by Spencer Murphy and Collette Balmain (both based at the host institution, which also funded the event), sought to reflect the diversity of East Asian cinema through a variety of different perspectives. In the current globalised world of cinema, international cross-pollination has become increasingly commonplace. Asian cinema, in the last fifteen years or so, has seen an explosion in co-productions as previously contentious diplomatic relationships across the continent have thawed. The
    [Show full text]
  • Screwball Syll
    Webster University FLST 3160: Topics in Film Studies: Screwball Comedy Instructor: Dr. Diane Carson, Ph.D. Email: [email protected] COURSE DESCRIPTION: This course focuses on classic screwball comedies from the 1930s and 40s. Films studied include It Happened One Night, Bringing Up Baby, The Awful Truth, and The Lady Eve. Thematic as well as technical elements will be analyzed. Actors include Katharine Hepburn, Cary Grant, Clark Gable, and Barbara Stanwyck. Class involves lectures, discussions, written analysis, and in-class screenings. COURSE OBJECTIVES: The purpose of this course is to analyze and inform students about the screwball comedy genre. By the end of the semester, students should have: 1. An understanding of the basic elements of screwball comedies including important elements expressed cinematically in illustrative selections from noteworthy screwball comedy directors. 2. An ability to analyze music and sound, editing (montage), performance, camera movement and angle, composition (mise-en-scene), screenwriting and directing and to understand how these technical elements contribute to the screwball comedy film under scrutiny. 3. An ability to apply various approaches to comic film analysis, including consideration of aesthetic elements, sociocultural critiques, and psychoanalytic methodology. 4. An understanding of diverse directorial styles and the effect upon the viewer. 5. An ability to analyze different kinds of screwball comedies from the earliest example in 1934 through the genre’s development into the early 40s. 6. Acquaintance with several classic screwball comedies and what makes them unique. 7. An ability to think critically about responses to the screwball comedy genre and to have insight into the films under scrutiny.
    [Show full text]
  • Gender and the Family in Contemporary Chinese-Language Film Remakes
    Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience.
    [Show full text]
  • Military Transformation on the Korean Peninsula: Technology Versus Geography
    THE UNIVERSITY OF HULL Military Transformation on the Korean Peninsula: Technology Versus Geography Being a Thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy At the University of Hull By Soon Ho Lee BA, Sungkyunkwan University, Republic of Korea, 2004 MA, The University of Birmingham, United Kingdom, 2005 MRes, King’s College London, United Kingdom, 2006 1 Acknowledgement I am the most grateful to my Supervisor Dr. David Lonsdale for his valuable academic advice and support during the long PhD journey. To reach this stage, I have had invaluable support from my family back in Korea and my dear wife Jin Heon. I would also like to thank my family for being so patient while I was researching. During this journey, I have obtained a precious jewel in my daughter, Da Hyeon. I will pray for you all my life. I would like to give special thanks to my late grandfather who gave me the greatest love, and taught me the importance of family. 2 Thesis Summary This thesis provides an explanation of one RMA issue: the effectiveness of contemporary military technology against tough geography, based upon case studies in the Korean peninsula. The originality of the thesis is that it will provide a sound insight for potential foes’ approach to the dominant US military power (superior technology and sustenance of war). The North Korean defence strategy – using their edge in geography and skill – tried to protect themselves from the dominant US power, but it may be impossible to deter or defeat them with technological superiority alone.
    [Show full text]
  • Pass the Gravy by Steve Massa
    Pass the Gravy By Steve Massa Max Davidson had appeared in movies since the early teens – act- ing at Biograph, supporting Fay Tincher in her Komic Comedy and Fine Arts comedy, and briefly headlining in his own Izzy Come- dies” – usually portraying stereo- typical Jewish tailors and mer- chants. After scoring a notable success co-starring with Jackie Coogan in the features “The Rag Man” and “Old Clothes” (both 1925) he was hired by producer Hal Roach to be part of his stable of supporting comedians. Proving himself in the service of Roach star comics Cuckoos” (1927) introductory description of “Love’s such as Stan Laurel, Charley Chase, and Mabel Greatest Mistake.” Screen freckles usually denote Normand in the shorts “Get ‘Em Young,” “Long Fliv fresh and fun-loving characters, but Spec’s spots the King” (both 1926), and “Anything Once” (1927), came with an icy heart, a malevolent grin, and Max was bumped up to the leading role in his own beady eyes that loved to see his screen father series and given the opportunity to flesh out his squirm. standard screen persona. The first entries were di- rected by Leo McCarey, then director-general of the In contrast to his sons like Spec, Max’s screen Roach Studio, who laid the ground work with shorts daughters are always his pride and joy, but still such as “Why Girls Say No,” “Jewish Prudence,” cause him a lot of aggravation, particularly when “Don’t Tell Everything,” and “Should Second they take up with boys he doesn’t approve of or as- Husbands Come First?” (all 1927).
    [Show full text]
  • K O R E a N C in E M a 2 0
    KOREAN CINEMA 2006 www.kofic.or.kr/english Korean Cinema 2006 Contents FOREWORD 04 KOREAN FILMS IN 2006 AND 2007 05 Acknowledgements KOREAN FILM COUNCIL 12 PUBLISHER FEATURE FILMS AN Cheong-sook Fiction 22 Chairperson Korean Film Council Documentary 294 206-46, Cheongnyangni-dong, Dongdaemun-gu, Seoul, Korea 130-010 Animation 336 EDITOR-IN-CHIEF Daniel D. H. PARK Director of International Promotion SHORT FILMS Fiction 344 EDITORS Documentary 431 JUNG Hyun-chang, YANG You-jeong Animation 436 COLLABORATORS Darcy Paquet, Earl Jackson, KANG Byung-woon FILMS IN PRODUCTION CONTRIBUTING WRITER Fiction 470 LEE Jong-do Film image, stills and part of film information are provided by directors, producers, production & sales companies, and Film Festivals in Korea including JIFF (Jeonju International Film Festival), PIFF APPENDIX (Pusan International Film Festival), SIFF (Seoul Independent Film Festival), Women’s Film Festival Statistics 494 in Seoul, Puchon International Fantastic Film Festival, Seoul International Youth Film Festival, Index of 2006 films 502 Asiana International Short Film Festival, and Experimental Film and Video Festival in Seoul. KOFIC appreciates their help and cooperation. Contacts 517 © Korean Film Council 2006 Foreword For the Korean film industry, the year 2006 began with LEE Joon-ik's <King and the Clown> - The Korean Film Council is striving to secure the continuous growth of Korean cinema and to released at the end of 2005 - and expanded with BONG Joon-ho's <The Host> in July. First, <King provide steadfast support to Korean filmmakers. This year, new projects of note include new and the Clown> broke the all-time box office record set by <Taegukgi> in 2004, attracting a record international support programs such as the ‘Filmmakers Development Lab’ and the ‘Business R&D breaking 12 million viewers at the box office over a three month run.
    [Show full text]
  • Arts of Asia Lecture Series Fall 2016 from Monet to Ai Weiwei: How We Got Here Sponsored by the Society for Asian Art
    Arts of Asia Lecture Series Fall 2016 From Monet to Ai Weiwei: How We Got Here Sponsored by The Society for Asian Art Who Am We? : Five Contemporary Artists of Korea Hyonjeong Kim Han Asian Art Museum Key Events in South Korea after Korean War • National Liberation from Japan (광복, August 15, 1945) • Japanese Colonization Period (일제강점기, 1910 - 1945) • Korean War (한국전쟁, 1950-1953) • April Revolution or April 19 Movement (4 월 혁명, popular uprising in April 1960, led by labor and student groups, which overthrew the autocratic First Republic of South Korea under Syngman Rhee) • Treaty on Basic Relations between Japan and the Republic of Korea (한일기본조약, June 22, 1965) • October Yushin (유신 체제, Fourth Republic of South Korea in which President Park Chung-hee assumed dictatorial powers in October 1972) • Assassination of Park Chung-hee (10. 26 사태, October 26, 1979) • Gwangju Uprising, May 18 Democratic Uprising or Gwangju Massacre (5.18 광주민주화항쟁, May 18, 1980) • Torture and death of Park Jong-chul, Seoul National University student (박종철 고문치사 사건, January, 1987) • June Democratic Uprising or June Democracy Movement (6 월 항쟁, nationwide democracy movement during June 10-29, 1987) • Direct presidential election (직접선거, 1988) • The 1988 Summer Olympic (88 올림픽, September 17 - October 2, 1988 in Korea) Important Figures • Choi Jeong Hwa (최정화, b. 1961 -) • Choi Wooram (최우람, b. 1970 -) • Chun Doo-hwan (전두환, b. 1931 -, former South Korean president during 1979 - 1988) • Do Ho Suh (서도호, b. 1962 -) • Hong Song-dam (홍성담, b. 1955 -, Minjung artist) 1 • JEON Joonho (전준호, b. 1969-) • Kimsooja (김수자, b. 1957 -) • Lee Bul (이불, b.
    [Show full text]