Daf-Szene Korea Nr. 22

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Daf-Szene Korea Nr. 22 Inhalt Reinhold Rauh: Die lange Geschichte des koreanischen Films – kurz erzählt ein Vorwort ................. 4 über den koreanischen Film ... Monika Rättich: Aktuelle Entwicklungen in der koreanischen Filmindustrie ................ 18 Gernot Haidorfer: Das Pusan International Film Festival (PIFF) ................ 19 Hans-Jürgen Müller: Korean Wave, TV-Soaps für Ostasien ................ 22 Sandra Wyrwal: Seifenopern als Koreanische Landeskunde ................ 25 Thomas Kuklinski-Rhee: Eastern in Korea ................ 28 Filme Michael Skowron: Ein religious turn? Bae, Yong-Kyun: Warum ging Bodhidharma in den Osten? ................ 38 Friedhelm Bertulies: Lee, Chang-Dong: Green fish ................ 44 Friedhelm Bertulies: Die Mao-Bibel; Der Film oder: Ethik in Action Park, Young-Woo: Shiri ................ 47 Konstantin Kountouroyanis: Die fantastische Wiedervereinigung von Nord- und Süd-Korea Park Chan-Wook: JSA oder Bruder, mein Bruder ................ 51 Reinhold Rauh: Die verkehrte Geschichte Lee Chang-Dong: Peppermint Candy ................ 55 Birke Dockhorn: Markenzeichen: Einzelschicksale im Kontext der koreanischen Geschichte Die künstlerische Entwicklung des Regisseurs Im Kwon-taek und seine Bedeutung für den koreanischen Film ................ 58 Kai Köhler: Eindringende Blicke Kim Ki-Duk: Seom ................ 69 Michael Menke: Ein japanisch-koreanischer Gangsterfilm, in dem die Koreaner Koreanisch sprechen und die Japaner Deutsch. Masahiko Nagasawa: Seoul ................ 74 Thomas Schwarz: Vorsicht, Schlange! Kim-Ki-Duk: Frühling, Sommer, Herbst, Winter … und Frühling ................ 76 Andrea König: Ein Zug, der nicht aufzuhalten ist, und Mängel, die schwer zu verzeihen sind Baek, Woon-Hak: Tube ................ 79 2 Gernot Haidorfer: Jee-woon Kim: A Tale of Two Sisters ................ 82 Michael Menke: Filmische Tiefebenen hier und da ... Yoon Je-gyun: Saekjeuk Shikong („Sex is zero“) und Granz Henman: Knallharte Jungs (in Korea „More Ants in the Pants“) ................ 84 Sigrid Gaffal: Schuld und Sühne auf Koreanisch Whang Cheol-Mean: Frakchi ................ 86 Sigrid Gaffal: Düstere Prophezeiungen Kim Dae-Seung: Blood rain ................ 88 Interview Sigrid Gaffal & Reinhold Rauh: Filmindustrie ist Umweltverschmutzung Ein Interview mit dem Regisseur Hwang Cheol-min ................ 90 Forum und Aktuelles Birgit Mersmann: Die Geschichte einer Assimilationskanakin Vereine FALK und INKODA veranstalten Lesung mit Raul Zelik ................ 95 Kai Köhler: Fünf Tage in Frankfurt – und mehr Koreas erfolgreicher Buchmessenauftritt ................ 97 Sigrid Gaffal: Koreanischkurse in der Provinz ................ 99 Iris Brose: Seminar „Aktueller Deutscher Film im Unterricht“ ...............100 Sigrid Gaffal, unter Mitarbeit von Hans-Jürgen Müller: Die Internationale Deutschlehrer- Tagung (IDT) 2005 in Graz ...............102 Lektoren-Vereinigung Korea: Lektorenversammlung und Seminar ...............104 Das 10. Internationale Symposium der Koreanischen Gesellschaft für Deutsch als Fremdspra- che (KGDaF) ...............104 Programmentwurf für die Asiatische Germanistentagung Seoul 2006, Kulturwissenschaftliche Germanistik in Asien ...............106 und sonst ... Autorenverzeichnis ...............110 Impressum ...............112 Kontakte ...............113 3 Die lange Geschichte des koreanischen Films – kurz erzählt – Ein Vorwort Reinhold Rauh Wer als durchschnittlich cineastisch Inte- übersehbar nur mit Hollywood-Block- ressierter, sagen wir im Zeitraum von bustern zugepappt. 1985-1995, regelmäßig die Filmfestspiele Wie es in Korea dazu kam, ist eine lange, von Berlin besucht hat, wird nur in Aus- teilweise schlimme Geschichte, die hier in nahmefällen unter den dort ange-botenen Kürze erzählt werden soll. 600-700 Filmen auf koreanische gestoßen Wie sogar in der Welt-Filmgeschichte sein. Erst recht gab es im normalen Kino- nicht völlig klar ist, ob als Ahnherren des angebot, mit winzigen Ausnahmen, nichts Kinos Namen wie Edison, Lumière oder Koreanisches. Skladinovsky zu gelten hätten, so liegen erst recht die Anfänge des koreanischen Diese Zeiten haben sich bekanntlich rasant Kinos im Dunkeln – sprichwörtlich: man verändert. Es hat in den letzten Jahren in kann keinen einzigen vor 1945 entstande- Berlin, Venedig und Cannes kaum ein Fes- nen Film sehen, weil sämtliche Kopien in tival gegeben, in dem im Hauptprogramm der Feuersbrunst des Koreakriegs verloren keine koreanischen Filme vertreten gewe- gegangen sind. Als erstes Stichjahr der ko- sen wären. Und diese Filme haben noch reanischen Kinogeschichte kann jedenfalls dazu jede Menge Preise eingeheimst. Mitt- 1903 gelten. Für dieses Jahr ist in Seoul lerweile sind in Deutschland Namen wie zum ersten Mal eine Kino-Aufführung be- Kim Ki-Duk, Lee Chang-Dong, Park zeugt. Ebenso ist belegt, dass in den dar- Chan-Wook oder Im Kwon-Taek nicht nur auffolgenden Jahren nicht nur in den Met- jedem halbwegs kompetenten Filmjourna- ropolen Seoul und Pyongyang, sondern listen bekannt, sondern bürgen auch für auch in anderen Provinzstädten meist von manchmal mehr, manchmal weniger Profit japanischen Geschäftsleuten Kinos gebaut an der Kinokasse. Und im Heimatland die- wurden. Die einheimische Klientel bevor- ser Filme hat sich auch etwas Unerhörtes zugte Filme amerikanischer oder europäi- zugetragen. scher Provenienz – was Koreaner vermut- Nachdem es Anfang der 90er Jahre noch so lich auch zum ersten Mal in breiten schien, als ob mit der Öffnung des heimi- Schichten mit westlicher Kultur vertraut schen Marktes für ausländische Fil-me gemacht hat. Die immer mehr ins Land auch Korea das übliche Schicksal ereilt strömenden Japaner bevorzugten natürlich hätte, nämlich die völlige Dominanz von ihre eigene Produktion. Bis zum ersten ko- Hollywood, so zeigen die gegenwärtigen reanischen Film dauerte es aber noch bis Zahlen, dass Hollywood in Korea mit gro- zum Jahr 1923. Obwohl schon vorher mit ßem Abstand zweitrangig geworden ist. Es Mischformen aus Film und Theater expe- ist nicht so einfach, im Stadtbild von Seoul, rimentiert wurde, gilt „Wolha ui Maeng- Daegu oder Busan Plakate mit amerikani- sae“ (Versprechen unter dem Mondschein, schen Filmen unter dem reichlichen Ange- 1923) als erster genuin koreanischer Film. bot der einheimischen Filmindustrie aus- War dies noch ein Erziehungsfilm, der zum zumachen. In Bangkok, Singapur oder richtigen Umgang mit Geld anleitete, so auch Berlin ist das längst ganz anders. Die entstanden in den darauffolgenden Jahren Werbeflächen sind dort überall und un- auch Spielfilme. 4 Für die zweite Hälfte der 20er Jahre exis- ten wurden. Einer der Filme, die es dann tiert sogar der Begriff ‚Goldenes Zeit-alter noch einmal in spektakulärer Weise bis zur des koreanischen Films’. „Arirang“ von Kinokasse schafften, war „Ch'unhyang- 1926 ist sicherlich der legendärste unter jun“ von Lee Myung-Woo aus dem Jahr 1935. Es ist der Klassiker des koreanischen Films schlechthin, zum einen, weil es sich um den ersten Tonfilm handelt, zum ande- ren, weil seine melodramatische Romeo- und-Julia-Geschichte das koreanische Han- Gefühl derart angesprochen hat, dass im Lauf der weiteren Jahrzehnte ein Dutzend Neuverfilmungen mit jeweils garantiertem Massenerfolg nachfolgten, das letzte Mal „Chunhyang“ von Im Kwon-Taek im Jahr 2000. In den Jahren nach 1935 gibt es al- lerdings für die koreanische Filmgeschich- te immer weniger zu vermelden. Sie de- generierte zum Dienst am japanischen Pro- paganda-Film und kam bis 1945 in den Wirrungen der großen Weltgeschichte fast völlig zum Erliegen. Erst für 1946 ist wieder ein genuin korea- nischer Spielfilm zu verzeichnen, „Chayu Filmplakat „Arirang“ (1926) Manse“ (Hurra! Frieden!) von Choe In- Gyu, ein patriotischer Film über den anti- diesen Filmen. Schon einmal legendär, japanischen Widerstand. Dieser Film ist weil der 25-jährige Regisseur Na Un-Kyu auch der früheste Film, von dem bis heute selbst aus der antijapanischen Unab- eine (schlechte und fragmentarische) Ko- hängigkeitsbewegung stammte. Legendär pie vorhanden ist. Bis zum Koreakrieg ent- muss auch die westlichen Vorbildern ent- standen noch ein paar andere, heute zu- sprechende Machart des Films gewesen meist verschollene Filme, unter anderem sein. Und besonders legendär war sein Zu- der erste Farbfilm von Hong Seong-Gi. spruch beim großen Publikum. Der Film Dass dann während des Koreakriegs die war nur deshalb an der Zensur vorbeige- Filmgeschichte wieder einmal eine Lücke kommen, weil die Japaner den Subtext der aufweist, liegt auf der Hand. Aber nach Filmgeschichte nicht verstanden. Sie konn- dem Waffenstillstand von 1953 trieb das ten in der Geschichte eines Halbverrückten, zarte Pflänzchen Film immer mehr Wur- der erst von der (japanischen) Polizei ge- zeln und blühte bald in schillernden Farben schlagen wird, dann den Gehilfen eines auf. Wurden 1955 noch 15 Filme produ- Großgrundbesitzers umbringt, um schließ- ziert, so waren es 1960 schon 90. Der Bo- lich endgültig in Händen der Justiz zu blei- den dafür wurde durch die Filmpolitik des ben, nichts Staatsgefährdendes entdecken. neuen Präsidenten Rhee Syngman bereitet, Für Koreaner, die in Scharen die Kinos der das Filmgeschäft von Steuern befreite stürmten, war dagegen klar, dass es sich und für eine moderne technologische Infra- beim Großgrundbesitzer um Japan han- struktur sorgte. Die 50er Jahre und auch delte. noch die 60er Jahre stellen das eigentliche Die Folge war, dass in den darauffolgen- Goldene Zeitalter des (süd-)koreanischen1 den Jahren die Zensur nochmals verschärft Films dar – vergleichbar
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