DOCSLIB.ORG

Korea Special 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Korea Special 2012 www.screenDaily.com Korea special Focus 2012 MARCHÉ DU FILM 2012 RIVIERA B17-C18 CJENTERTAINMENT SCREENING P R O M O R E E L S TODAY MAY 19 SAT 19:30 STAR 4 / MAY 22 TUE 14:00 LERINS 2 THE TOWER SOAR INTO THE SUN MASSIVE DISASTER BLOCKBUSTER FILM AVIATION BLOCKBUSTER WITH FULL EXPLOSION AND DRAMA STARRING RAIN FROM NINJA ASSASSIN PERFECT NUMBER DERANGED BASED ON THE NAOKI PRIZE AWARDED NOVEL NATIONWIDE EPIDEMIC OUTBREAKS THE DEVOTION OF SUSPECT X BY KEIGO HIGASHINO BY A MUTANT PARASITE Mid-sized productions such as Showbox’s Detective K: Secret Of Virtuous Widow (above) and CJ E&M’s Punch (below) have proved big hitters at the Korean box offi ce Korea packs a punch Strong stories and word of mouth rather than big stars and special effects are the driving forces at the Korean box office. Liz Shackleton looks at the state of the local industry as new players enter the fray and eyes are turning towards China he old film business adage that ‘nobody box’s war drama The Front Line, also performed In addition, Daisy Entertainment, best known as knows anything’ when it comes to predicting The steady flow below expectations, though Sector 7 had a healthy a buyer that releases through its distribution arm Thits has been especially true for the Korean run in China and The Front Line — like My Way — Cinergy, is also stepping up production activity, co- fi lm industry over the past year, during which big- of mid-range sold well overseas. financing domestic titles such as omnibus film budget fi lms with high expectations have fl opped successes The emergence of new players is also shaking up Horror Stories and revenge thriller Don’t Cry and smaller fi lms without stars have cleaned up at pushed the the market. Korea’s fi lm industry has traditionally Mommy. Daisy & Cinergy also co-fi nanced Cannes the box offi ce. been dominated by three big studios — CJ E&M, Competition title The Taste Of Money with Lotte Mid-sized productions such as CJ E&M’s Punch market share Showbox Mediaplex and Lotte Entertainment — Entertainment. and Silenced, Lotte Entertainment’s War Of The of Korean films but a relative newcomer, fi nancier-distributor Next But even with strong market share and new Arrows and Showbox’s Detective K: Secret Of Virtu- to 52% in 2011 Entertainment World (N.E.W.), has broken into sources of fi nance, the Korean fi lm business is ous Widow thrived on strong stories and word of their ranks. In the first quarter of 2012, never content to rest on its laurels. Studios mouth, rather than big stars and special effects. N.E.W. ranked second behind CJ E&M and government organisations such as Punch in particular performed way beyond expec- with a 15% box-offi ce share, due to the Korean Film Council (KOFIC) tations — the story of a high-school boy and his local hits such as Unbowed and have recently been examining how to teacher who lives next door grossed $34m for Love Fiction, along with its for- bring the dormant ancillary market fourth place in the year-end chart. eign releases (see box-offi ce fea- back to life, and also how to expand None of these fi lms are classed as mega-hits, but ture, p52). international distribution as the the steady fl ow of mid-range successes pushed the local theatrical market has reached market share of Korean fi lms to 52% in 2011, its saturation point. highest level in four years. The trend has continued Some of Korea’s best-known direc- in the fi rst quarter of this year with solid perform- tors are currently making their ers such as comedy Dancing Queen, courtroom English-language debuts — Park Chan-wook drama Unbowed, gangster fi lm Nameless Gangster: with Stoker and Kim Jee-woon with The Last Stand Rules Of Time and romantic drama Architecture 101. – but these fi lms are Hollywood productions Their success helped push Korean fi lms’ market that do not involve Korean investment. share to 61%. Bong Joon-ho’s English-lan- Meanwhile, big-budget productions such as CJ’s guage Snow Piercer, starring My Way, directed by Kang Je-gyu (Shiri, Taegukgi) Chris Evans, Jamie Bell and featuring a glittering cast, have disappointed and Tilda Swinton, at the box offi ce. The $24m war epic, released at may create a new the end of last year, grossed around only $14m at business the Korean box offi ce. Last year, other big fi lms, such as CJ’s 3D creature feature Sector 7 and Show- ■ 46 Screen International at Cannes May 19, 2012 FEATURE FEATURE Sector 7 model — the $30m production is independently fi nanced and produced by Park Chan-wook’s Moho As well as Films and Opus Pictures. Outside of English-language markets, the English- Korean fi lm biz has also been focusing on neigh- language bouring China, which shares a similar culture but markets, the presents its own special set of challenges. Korean fi lms have recently been performing well in China Korean film — Sector 7 grossed $4.7m last December, while business has Architecture 101 Kim Tae-yong’s Late Autumn, starring Hyun Bin been focusing and Chinese actress Tang Wei, took $9.5m within two weeks of its March 2012 release. on China drama Mr. Go 3D with Beijing-based Huayi Broth- involve Korean investment. Dangerous Liaisons, a However, as it is diffi cult to secure one of China’s ers. Huayi is investing $5m in the fi lm and the deal Chinese remake of the 18th century novel Les Liai- 34 annual revenue-sharing slots, Korean fi lms can ensures it will receive a 5,000-screen release across sons Dangereuses, which premieres here in Direc- usually only enter the country on fl at-fee deals or as China in summer 2013. More than half of China’s tors’ Fortnight, is directed by Korea’s Hur Jin-ho official co-productions. As flat-fee deals do not 10,000 screens are 3D-equipped. (Happiness, April Snow). The fi lm, which stars both yield a share of box offi ce, more Korean companies And just as they are beginning to make a mark Korean and Chinese actors, is co-produced by Chi- are exploring co-productions — Showbox recently in Hollywood, Korean fi lm-makers are also work- na’s Zonbo Media with Daniel Yun’s Singapore- announced it will co-produce 3D sports action ing on Chinese productions that do not always based outfi t Homerun Asia. Is HALF PAGE ADVERT May 19, 2012 Screen International at Cannes 47 ■ FEATURE Ghost Sweepers Perfect Number Eungyo Selling Seoul While North America continues to be a difficult market for Korean films to crack and Asia presents challenges because of the strength of Hollywood and local films, Europe continues to offer lively prospects. Liz Shackleton reports ike other sales companies around the world lowed by Europe with 22.2% and North America Hot projects handling foreign-language fare, Korean sell- with 10.5%. Lers face challenges in today’s tough market. Hot sellers over the past year have included CANNES COMPETITION But with high production values and global recog- high-concept fi lms such as Finecut’s Hello Ghost nition for certain genres, directors and stars, Korean and Showbox’s war movie The Front Line, which In Another Country fi lms continue to sell steadily on the global market. sold to the US and Europe. Concert fi lms featuring Dir Hong Sang-soo North America continues to be one of the tough- Korean pop stars, such as M-Line Distribution’s est markets to crack, while Europe generates steady 2AM Show, sold strongly to Asian territories. Cannes regular Hong Sang-soo returns to the business and Asia is becoming more diffi cult due to Korea’s name directors rather than stars tend to Croisette with In Another Country. It tells the story the strength of Hollywood and local fi lms. drive sales overseas — last year Finecut scored a of three women, all named Anne, and all played by “The US market is getting tougher for commer- raft of sales on Park Chan-wook’s Night Fishing French actress Isabelle Huppert. Hong has previ- cial fi lms, though if you have a strong genre, you and Kim Ki-duk’s Cannes title Arirang, which sold ‘The US market ously had four fi lms in Un Certain Regard, one in can usually sell to video and VoD,” says Finecut to Rapid Eye in Germany and Punto Zero in Italy is getting Directors’ Fortnight and two in Competition, mak- CEO Youngjoo Suh. “Arthouse fi lms with a well- among other territories. tougher for ing him the Korean director with the most fi lms known director are slightly easier, but I believe we One of Korea’s biggest exports last year, also shown in Cannes. His last title to appear in Cannes need to develop co-productions with the US to handled by Finecut, was animated feature Leafi e, A commercial Competition was Tale Of Cinema in 2005. penetrate that market.” Hen Into The Wild, which was dubbed and given a films’ Contact Finecut, Youngjoo Suh Suh adds that the European market is surpris- wide release in Italy, Russia, France and other Youngjoo Suh, [email protected] ingly lively, with more than half the titles she sells territories. The fi lm also performed well Finecut receiving a theatrical release. Asia is a different in its home market, where it was released The Taste Of Money story — while Korean pop music and TV dramas by Lotte and grossed a respectable Dir Im Sang-soo remain popular across the region, Korean movies $12.9m.
Load more

Recommended publications
  • Film/Broadcast Content the Increasing Role of “Tentpoles” in the Content Industry
    Film/Broadcast Content The increasing role of “tentpoles” in the content industry The need for tentpoles in the content industry Overweight (Maintain) The content industry and a tent have one thing in common: both need a tentpole to support the entire structure. In the content industry, tentpoles are defined as hit titles Industry Report that provide a source of steady cash flow, such as the blockbuster films of movie studios July 27, 2015 and the top-rated programs of TV networks. The content industry is vulnerable to the success or failure of a title as well as changes in seasonality. Establishing a tentpole by investing around 70% of the annual budget on Daewoo Securities Co., Ltd. just one or two projects could prove an effective strategy against such risks. If tentpole [Telecom Service / Media] films or shows become a hit, they can compensate for losses made elsewhere. Creating a long-term tentpole lineup, increasing the number of tentpoles, and being able to predict Jee-hyun Moon future revenue can lead to a structural improvement in the business. In other words, +822-768-3615 tentpoles can make the content industry more predictable. [email protected] Tentpole strategies used in the film distribution and broadcasting industries The tentpole strategy is primarily used in the film distribution and broadcasting industries. A major proponent of the strategy is Walt Disney, which plans its five-year release lineup based on its Disney and Marble Comics franchises. The media giant has recently seen its film profits steadily grow after releasing a string of successful tentpole movies every quarter.
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Romancing race and gender : intermarriage and the making of a 'modern subjectivity' in colonial Korea, 1910-1945 Permalink https://escholarship.org/uc/item/9qf7j1gq Author Kim, Su Yun Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Romancing Race and Gender: Intermarriage and the Making of a ‘Modern Subjectivity’ in Colonial Korea, 1910-1945 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Su Yun Kim Committee in charge: Professor Lisa Yoneyama, Chair Professor Takashi Fujitani Professor Jin-kyung Lee Professor Lisa Lowe Professor Yingjin Zhang 2009 Copyright Su Yun Kim, 2009 All rights reserved The Dissertation of Su Yun Kim is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2009 iii TABLE OF CONTENTS Signature Page…………………………………………………………………...……… iii Table of Contents………………………………………………………………………... iv List of Figures ……………………………………………….……………………...……. v List of Tables …………………………………….……………….………………...…... vi Preface …………………………………………….…………………………..……….. vii Acknowledgements …………………………….……………………………..………. viii Vita ………………………………………..……………………………………….……. xi Abstract…………………………………………………………………………………. xii INTRODUCTION: Coupling Colonizer and Colonized……………….………….…….. 1 CHAPTER 1: Promotion of
    [Show full text]
  • Power of the Korean Film Producer: Park Chung Hee’S Forgotten Film Cartel of the 1960S Golden Decade and Its Legacy
    Volume 10 | Issue 52 | Number 3 | Article ID 3875 | Dec 24, 2012 The Asia-Pacific Journal | Japan Focus Power of the Korean Film Producer: Park Chung Hee’s Forgotten Film Cartel of the 1960s Golden Decade and its Legacy Brian Yecies, Ae-Gyung Shim An analysis of the tactics adopted by the industry reveals the ways in which producers Key words: Korean cinema, filmnegotiated policy demands and contributed to production, film policy, Park Chung Hee, an industry “boom” – the likes of which were Shin Sang-ok not seen again until the late 1990s. After censorship was eliminated in 1996, a new Power of the Producer breed of writer-directors created a canon of internationally provocative and visuallySince the early 1990s, Korean film producers stunning genre-bending hit films, and new and have been shaping the local film industry in a established producers infused unprecedented variety of ways that diverge from those venture capital into the local industry. Today, a followed in the past. A slew of savvy producers bevy of key producers, including vertically and large production companies have aimed to integrated Korean conglomerates, maintain produce domestic hits as well as films for and dominance over the film industry whilewith Hollywood, China, and beyond, thus 2 engaging in a variety of relatively near-leading the industry to scale new heights. They transparent domestic and internationaldiffer markedly from those producers and companies that, throughout the 1970s and expansion strategies. Backing hits at home as 1980s, were primarily focused on profiting well as collaborating with filmmakers in China from the importation, distribution and and Hollywood have become priorities.
    [Show full text]
  • 4. Film As Basis for Poster Examination
    University of Lapland, Faculty of Art and Design Title of the pro gradu thesis: Translating K-Horror to the West: The Difference in Film Poster Design For South Koreans and an International Audience Author: Meri Aisala Degree program: Graphic Design Type of the work: Pro Gradu master’s thesis Number of pages: 65 Year of publication: 2018 Cover art & layout: Meri Aisala Summary For my pro gradu master’s degree, I conducted research on the topic of South Korean horror film posters. The central question of my research is: “How do the visual features of South Korean horror film posters change when they are reconstructed for an international audience?” I compare examples of original Korean horror movie posters to English language versions constructed for an international audience through a mostly American lens. My study method is semiotics and close reading. Korean horror posters have their own, unique style that emphasizes emotion and interpersonal relationships. International versions of the posters are geared toward an audience from a different visual culture and the poster designs get translated accordingly, but they still maintain aspects of Korean visual style. Keywords: K-Horror, melodrama, genre, subgenre, semiotics, poster I give a permission the pro gradu thesis to be read in the Library. 2 목차Contents Summary 2 1. Introduction 4 1.1 Research problem and goals 4 1.2 The movie poster 6 1.3 The special features of K-Horror 7 1.3.1 Defining the horror genre 7 1.3.2 The subgenres of K-Horror 8 1.3.3 Melodrama 9 2. Study methods and material 12 2.1 Semiotics 12 2.2 Close reading 18 2.3 Differences in visual culture - South Korea and the West 19 3.
    [Show full text]
  • Published 26 February 2019 LKFF 2018
    1–25 NOVEMBER LONSM_350_ .pdf 1 2018. 8. 22. �� 8:48 It is my pleasure to introduce to you the 13th instalment of the London Korean Film Festival, our annual celebration of Korean Film in all its forms. Since 2006, the Korean Cultural Centre UK has presented the festival with two simple goals, namely to be the most inclusive festival of national cinema anywhere and to always improve on where we left off. As part of this goal Daily to Seoul and Beyond for greater inclusivity, in 2016 the main direction of the festival was tweaked to allow a broader, more diverse range of Korean films to be shown. With special themes exploring different subjects, the popular strands covering everything from box office hits to Korean classics, as well as monthly teaser screenings, the festival has continued to find new audiences for Korean cinema. This year the festival once again works with critics, academics and visiting programmers on each strand of the festival and has partnered with several university film departments as well. At the time of writing, this year’s festival will screen upwards of 55 films, with a special focus entitled ‘A Slice of Everyday Life’. This will include the opening and closing films, Microhabitat by Jeon Go-woon, and The Return by Malene Choi. C ‘A Slice of Everyday Life’ explores valuable snapshots of the sometimes-ignored M lives of ordinary Koreans, often fragile individuals on the edge of society. One Y will also see director Lee Myung-se's films in the Contemporary Classics strand and Park Kiyong's films in the Indie Firepower strand.
    [Show full text]
  • The Next Growth Strategy for Hallyu 79
    Lee & Kim / The Next Growth Strategy for Hallyu 79 THE NEXT GROWTH STRATEGY FOR HALLYU A Comparative Analysis of Global Entertainment Firms Yeon W. Lee Seoul School of Integrated Science and Technology [email protected] Kyuchan Kim Korea Culture and Tourism Institute [email protected] Abstract Previous policy approaches on Hallyu have been focused on the role of government engagement, particularly in fostering diversity and equal business opportunities for small-and-medium enterprises (SMEs). However, a more strategic approach to the cultural industries should be implemented by carefully examining the role of the private sector, particularly the role of large enterprises (LEs). his is important because LEs have an overarching and fundamentally diferentiated role in increasing the size of industry through their expansive value-creating activities and diversiied business areas. his study focuses on the complementary roles of SMEs and LEs in facilitating the growth of Hallyu by bringing in the perspective of value chain diversiication and the modiied value chain framework for the ilm industry. By conducting a comparative analysis of the global entertainment irms in the US, China, and Japan, this study reveals how LEs in the global market enter and explore new industries within culture and continue to enhance their competitiveness. By forming a business ecosystem through linking their value-creating activities as the platform of network, this study looks into the synergistic role among enterprises of diferent size and scale and suggests that Korea’s policy for Hallyu should reorient toward a new growth strategy that encourages the integrative network of irms where the value activities of LEs serve as the platform for convergence.
    [Show full text]
  • The Korean Wave As a Localizing Process: Nation As a Global Actor in Cultural Production
    THE KOREAN WAVE AS A LOCALIZING PROCESS: NATION AS A GLOBAL ACTOR IN CULTURAL PRODUCTION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Ju Oak Kim May 2016 Examining Committee Members: Fabienne Darling-Wolf, Advisory Chair, Department of Journalism Nancy Morris, Professor, Department of Media Studies and Production Patrick Murphy, Associate Professor, Department of Media Studies and Production Dal Yong Jin, Associate Professor, School of Communication, Simon Fraser University © Copyright 2016 by Ju Oak Kim All Rights Reserved ii ABSTRACT This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices.
    [Show full text]
  • John Hancock Emerging Markets Fund
    John Hancock Emerging Markets Fund Quarterly portfolio holdings 5/31/2021 Fund’s investments As of 5-31-21 (unaudited) Shares Value Common stocks 98.2% $200,999,813 (Cost $136,665,998) Australia 0.0% 68,087 MMG, Ltd. (A) 112,000 68,087 Belgium 0.0% 39,744 Titan Cement International SA (A) 1,861 39,744 Brazil 4.2% 8,517,702 AES Brasil Energia SA 14,898 40,592 Aliansce Sonae Shopping Centers SA 3,800 21,896 Alliar Medicos A Frente SA (A) 3,900 8,553 Alupar Investimento SA 7,050 36,713 Ambev SA, ADR 62,009 214,551 Arezzo Industria e Comercio SA 1,094 18,688 Atacadao SA 7,500 31,530 B2W Cia Digital (A) 1,700 19,535 B3 SA - Brasil Bolsa Balcao 90,234 302,644 Banco Bradesco SA 18,310 80,311 Banco BTG Pactual SA 3,588 84,638 Banco do Brasil SA 15,837 101,919 Banco Inter SA 3,300 14,088 Banco Santander Brasil SA 3,800 29,748 BB Seguridade Participacoes SA 8,229 36,932 BR Malls Participacoes SA (A) 28,804 62,453 BR Properties SA 8,524 15,489 BrasilAgro - Company Brasileira de Propriedades Agricolas 2,247 13,581 Braskem SA, ADR (A) 4,563 90,667 BRF SA (A) 18,790 92,838 Camil Alimentos SA 11,340 21,541 CCR SA 34,669 92,199 Centrais Eletricas Brasileiras SA 5,600 46,343 Cia Brasileira de Distribuicao 8,517 63,718 Cia de Locacao das Americas 18,348 93,294 Cia de Saneamento Basico do Estado de Sao Paulo 8,299 63,631 Cia de Saneamento de Minas Gerais-COPASA 4,505 14,816 Cia de Saneamento do Parana 3,000 2,337 Cia de Saneamento do Parana, Unit 8,545 33,283 Cia Energetica de Minas Gerais 8,594 27,209 Cia Hering 4,235 27,141 Cia Paranaense de Energia 3,200
    [Show full text]
  • South Korean Cinema and the Conditions of Capitalist Individuation
    The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation By Jisung Catherine Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kristen Whissel, Chair Professor Mark Sandberg Professor Elaine Kim Fall 2013 The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation © 2013 by Jisung Catherine Kim Abstract The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation by Jisung Catherine Kim Doctor of Philosophy in Film and Media University of California, Berkeley Professor Kristen Whissel, Chair In The Intimacy of Distance, I reconceive the historical experience of capitalism’s globalization through the vantage point of South Korean cinema. According to world leaders’ discursive construction of South Korea, South Korea is a site of “progress” that proves the superiority of the free market capitalist system for “developing” the so-called “Third World.” Challenging this contention, my dissertation demonstrates how recent South Korean cinema made between 1998 and the first decade of the twenty-first century rearticulates South Korea as a site of economic disaster, ongoing historical trauma and what I call impassible “transmodernity” (compulsory capitalist restructuring alongside, and in conflict with, deep-seated tradition). Made during the first years after the 1997 Asian Financial Crisis and the 2008 Global Financial Crisis, the films under consideration here visualize the various dystopian social and economic changes attendant upon epidemic capitalist restructuring: social alienation, familial fragmentation, and widening economic division.
    [Show full text]
  • Media Content the Next Players of China’S Growth
    Media Content The next players of China’s growth A look into the growth pattern of China’s culture industry Overweight (Maintain) China has become a central player in almost every industry across the world. The media content industry is no exception. In our recent overseas marketing trip, we met many Industry Report foreign investors asking about Korean content stocks, and were left with the impression March 23, 2016 that investors were looking for the next players to benefit from China’s growth. In 2015, the tertiary industry contributed to more than half of China’s GDP for the first Daewoo Securities CCCo.,Co., Ltd. time ever, signaling a change in global stock leadership. China’s box-office market has been growing at an astonishing rate, outpacing forecasters’ predictions. Historically, US [Telecom Service / Media] cultural spending increased significantly when the country’s GDP per capita rose from Jee-hyun Moon US$4,000 to US$20,000. At present, China’s GDP per capita is just US$8,000. +822-768-3615 Furthermore, the Chinese government has pledged to develop the culture industry into [email protected] one of the backbones of its economy. Nu-ri Ha With infrastructure nearly complete, next big investment will be in content +822-768-4130 [email protected] China’s culture industry now has most of the necessary infrastructure in place. The boom in multiplex theater co nstruction has led to a considerable rise in the number of Hong-mei Cui screens, and box-office revenue is surging in third- and fourth-tier cities.
    [Show full text]
  • Cultural Hybridity in the Contemporary Korean Popular Culture Through the Practice of Genre Transformation
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-28-2018 2:30 PM Cultural Hybridity in the Contemporary Korean Popular Culture through the Practice of Genre Transformation Kyunghee Kim The University of Western Ontario Supervisor Blackmore, Tim The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Kyunghee Kim 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Kim, Kyunghee, "Cultural Hybridity in the Contemporary Korean Popular Culture through the Practice of Genre Transformation" (2018). Electronic Thesis and Dissertation Repository. 5472. https://ir.lib.uwo.ca/etd/5472 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract The focus of this dissertation is to show how the media of contemporary Korean popular culture, specifically films, are transformed into “hybrid cultural forms” through the practice of genre transformation. Since the early 21st century, South Korean popular culture has been increasingly spreading across the globe. Despite its growing attention and popularity, Korean pop culture has been criticized for its explicit copying of Western culture with no unique cultural identity. Others view the success of Korean media, both its creative mimicry and its critique of the West, as a new hybrid form that offers the opportunity for reassertion of local identity as well as challenging the global hegemony of the West.
    [Show full text]
  • Clicando Aqui
    Festival do Rio 2012 Rio de Janeiro Int'l Film Festival TEM O PRAZER DE APRESENTAR GRANDE GALA DE ABERTURA GONZAGA - DE PAI PARA FILHO DE BRENO SILVEIRA 27 DE SETEMBRO GRANDE GALA DE ENCERRAMENTO HEMINGWAY E GELLHORN DE PHILIP KAUFMAN 10 DE OUTUBRO Festival do Rio 2012 Rio de Janeiro Int'l Film Festival Uma Super-Simplificação de Sua Beleza A Negociação Michael Jackson - Bad 25 Além dos Muros A Última Vez que Vi Macau Fuga de Los Angeles Celeste e Jesse Para Sempre Vida e Morte de Marina Abramovic Segundo Bob Wilson Sonhos de uma Vida 5 CIRCUITO DO FESTival PAVILHÃO Armazém da Utopia (Armazém 6) Rua Rodrigues Alves, s/n – Cais do Porto RioMarket, Cine Encontro, Exposição. CINEMAS CENTRO CULTURAL JUSTIÇA FEDERAL CINEMARK BOTAFOGO Lotação: sala 1: 142 | sala 2: 56 Lotação: sala 3: 219 (inteira: R$ 10,00 | meia: R$ 5,00) (inteira: R$ 18,00 | meia: R$ 9,00) Av. Rio Branco, 241 - Centro Botafogo Praia Shopping Tel: (21) 3261-2550 Praia de Botafogo, 400 - Arco 800 - Botafogo Tel: (21) 2237-9481 CENTRO CULTURAL BANCO DO BRASIL Lotação: 102 CINÉPOLIS lagooN (inteira: R$ 6,00 | meia: R$ 3,00) Lotação: sala 5: 161 Rua Primeiro de Março, 66 - Centro (inteira: R$ 10,00 | meia: R$ 5,00) Tel: (21) 3808-2020 Estádio de Remo da Lagoa Av. Borges de Medeiros, 1.424 - Leblon CINECARIOCA Nova BRASÍLIA Tel: (21) 3029-2544 Lotação: 89 (inteira: R$ 4,00 | meia: R$ 2,00) ESTAÇão SESC BARRAPOINT Rua Nova Brasília, Pça do Terço, s/n Lotação: sala1: 119 Complexo do Alemão (inteira: R$ 16,00 | meia: R$ 8,00 | sescrio: R$ 6,00) Shopping BarraPoint Tel: (21) 7738-5241 Av.
    [Show full text]