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Ahn, Soojeong (2008) the Pusan International Film Festival 1996

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Ahn, Soojeong (2008) the Pusan International Film Festival 1996 The Pusan International Film Festival 1996-2005: South Korean Cinema in Local, Regional, and Global Context SooJeong AHN Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy June 2008 Abstract Despite the growing academic attention to film festivals, there has been little critical discourse about such events staged outside the West. This thesis aims to address this gap by providing a social, political and cultural exploration of the Pusan International Film Festival (PIFF) in South Korea between 1996 and 2005. The thesis utilises empirical research to reveal how the festival staked out a unique and influential position within a rapidly changing global landscape. Particular attention is paid to the organisers’ use of an Asian regionalisation strategy to promote the festival locally and globally. This study claims that PIFF has gone further than any other film festival in constructing a regional identity and maintaining a strong and mutually beneficial link to its national film industry. Research into PIFF’s special relationship with both the national and regional film industries uncovers the previously unexplored roles that film festivals play in film production, in addition to their traditional functions of exhibition and distribution. To place this analysis in context, the thesis examines the politico-economic factors that influenced the establishment of the festival, its programming, the project market (the Pusan Promotion Plan), and its tenth anniversary in 2005. The study argues that analysis of PIFF reveals tensions and negotiations between the “national” and the “transnational” in the wake of economic and cultural globalisation in East Asia. The thesis serves as a case study of how contemporary film festivals adjust their roles and identities to adapt to local, regional and global change. Contents Abbreviations i Introduction 1 1. Film Festivals Between the National and the Transnational 36 2. Why Pusan?: The Political Economy of a Film Festival 84 3. Making a Hub of Asian Cinema: A Regionalisation Strategy 131 4. Negotiating a Place Between Korean Cinema and Asian Cinema: Programming Politics 175 5. Re-imagining the Past: Programming Retrospectives 218 6. A Global Film Producer: The Pusan Promotion Plan 269 7. Remapping Asian Cinema: The Tenth Anniversary in 2005 312 Conclusion 361 Bibliography 368 Appendix 1. Film Festivals in Asia Appendix 2. Main Programme of PIFF Appendix 3. A Statistical Chart of PIFF (1996-2005) Appendix 4. An Overview of the Tenth PIFF (2005) Appendix 5. Pusan Promotion Plan Projects (1998-2005) Acknowledgments I am indebted to many people for their encouragement and forbearance at different moments and in different places throughout this research. First of all, I would like to thank Julian Stringer for his committed supervision and invaluable support. Jonathan Watts, Iona Macintyre, Iain Roberts Smith, Thomas Jong-suk Nam, Emilse Hidalgo, and Julieta Gatti deserve a special mention for their insightful comments and practical help in reading my drafts. Many thanks to Sabrina Qing Yu, Jung-Ae Park, Richard Robinson, and to Jung Sunhyung and Yenny Satriawan for inviting me into their home and restoring my spirit and energy. My thanks also go to Nandana Bose, Serena Formica, Donna Peberdy, and Francisca Fuentes, for their friendship, and especially to Eun Young Jean, Channing Lu and to Ikumi Fushimi and Derek Soon for their generosity in the final stages of this research. I am indebted to Sister Mary Deane, Bang Eunjin and Father Joseph Seong-woo Lee for their spiritual support. I should also like to thank numerous friends and colleagues in the Korean film industry who shared their knowledge and materials. Special thanks to Derek Elley for challenging my perspectives on film festivals and to Kim Dong-Ho for his stimulating presence. My family has lived with this thesis. Very special thanks to my husband, Oh Choon-baik, for his immense patience, love and support. While I was conducting this research in England, my two little nieces Daeun and Seun were born in Korea and their laughter has guided me through this journey. Thanks to my sister Jeong- min for tireless support by listening to all my frustrations on countless long-distance phone calls. Funding for this research was provided in part by an Arts Postgraduate Scholarship from the International Office at the University of Nottingham in 2004. A short version of Chapter 4 will appear as “Placing South Korean Cinema into Pusan International Film Festival: Programming Strategy in the Global/Local Context,” in What a Difference a Region Makes: Cultural Studies and Cultural Industries in North-East Asia , edited by Chris Berry, Darren Aoki and Nicola Liscutin. Hong Kong: Hong Kong University Press (forthcoming). Chapter 5 will be published in an abridged version as “Re-imagining the Past: Programming South Korean Retrospectives at the Pusan International Film Festival,” in Film International , Vol. 6. (2008), a special issue on film festivals edited by Dina Iordanova (forthcoming). Chapter 7 will also appear as “Re-mapping Asian Cinema: The Tenth Anniversary of PIFF in 2005,” in Cinemas, Identities and Beyond, edited by Ruby Cheung and David Fleming. Newcastle upon Tyne: Cambridge Scholars Publishing (forthcoming). i Abbreviations AAFA Associationof AsianFilm Archives AFA AsianFilm Academy AFIC AsianFilm IndustryCentre AFIN AsianFilm Industry Network AFM AsianFilmMarket/ AmericanFilmMarket AFCNet AsianFilmCommissions Network APEC AsianPacificEconomic Cooperation ASEAN AssociationofSoutheast AsianNations ASEM Asia-EuropeMeeting BEXCO BusanExhibitionandConventionCentre BFC BusanFilmCommission BIFCOM BusanInternational FilmCommissionandIndustry Showcase DMB DigitalMultimediaBroadcasting EFM EuropeanFilmMarket EFP EuropeanFilmPromotion EU EuropeanUnion FIAF International FederationofFilm Archives FIAPF FederationInternationaledes AssociationsdeProduceteurdeFilms FILMART HongKong International FilmandTelevisionMarket IFFR International FilmFestival Rotterdam IMF InternationalMonetaryFund HAF HongKong-Asia FilmFinancingForum HBF theHubert BalsFund HKIFF HongKong InternationalFilmFestival KF-MAP KoreanFilm-Making AssistantProject KMPPC KoreanMotionPicturePromotionCorporation KOFA Korean Film Archive KOFIC KoreanFilmCouncil MIFED International FilmandMultimediaMarket MoMA MuseumofModernArt MPAA MotionPicture Associationof America NDIF NewDirectors InFocus NETPAC NetworkforthePromotionof AsianCinema NHK NihonHōsōKyōkai(Japanese NationalBroadcastingCorporation) PiFan PuchonInternational FilmFestival PIFF PusanInternationalFilm Festival PPP PusanPromotionPlan PRC People’sRepublicofChina(MainlandChina) ii SeNef Seoul NetandFilmFestival TIFF TokyoInternational FilmFestival TIFFCOM Entertainment ContentMarketat TIFF UN UnitedNations UNESCO UnitedNationsEducational,ScientificandCulturalOrganisation WTO WorldTradeOrganisation Introduction This thesis examines one individual international film festival in South Korea, the Pusan International Film Festival between the years 1996 and 2005. 1 The purpose of this research is to elucidate how an individual film festival in a non-Western country has worked to position itself within the rapidly changing global film economy. The thesis identifies a series of Asian regional self-definition processes that the festival utilised to differentiate itself from its regional counterparts, such as the Hong Kong and Tokyo film festivals. Furthermore, this project also reflects the complexities brought about by the rapid transformation of the South Korean film industry which has striven to reach out to the global film market since the late 1990s. Over the past two decades there has been a significant proliferation of new film festivals around the world. Despite the growing interest and importance of film festivals as a scholarly topic, research on film festivals has tended to focus on high profile European festivals, such as Cannes, Venice and Berlin. Little primary empirical research has been conducted to date on the subject of non-Western film festivals. As a result, the existing scholarship on this topic has largely failed to comprehensively acknowledge the different social and cultural contexts of non- 1 Western film festivals. In addition, it is worth noting that while the exhibition of new titles of world cinema has long been seen as a key to obtaining a high-profile for major festivals in the West, it is surprising that the relationship between non- Western film festivals and their role in exhibiting and supporting the production of “world cinema” has rarely been explored in Film Studies. This thesis aims to address these gaps by specifically focusing on PIFF which since its inception in 1996 has rapidly emerged in the global film market as the single most significant showcase of Asian cinema. The hypothesis of this study is that PIFF’s regional approach towards East Asia, synergised by the global visibility of South Korean cinema, displays a distinct agenda and socio-cultural context different from that of Euro-American film festivals. Moreover, PIFF’s vital role in linking with its national and regional film industries will be established as the first step to discovering the unexplored roles and functions that film festivals play in the global film economy. For example, this thesis uncovers another significant role played by film festivals - production - in addition to the roles conventionally associated with them (exhibition and distribution) by investigating the Pusan Promotion Plan,
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