Movie Migrations: Transnational Genre Flows and South Korean - download pdf or read online

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By Hye Seung Chung, David Scott Diffrient

ISBN-10: 0813569982

ISBN-13: 9780813569987

Because the billion YouTube perspectives for “Gangnam sort” might point out, South Korean pop culture has started to take pleasure in new prominence at the worldwide degree. but, as this well timed new research finds, the nation’s movie has lengthy been a hub for transnational trade, generating videos that positioned a distinct spin on typical genres, whereas influencing global cinema from Hollywood to Bollywood. 

Movie Migrations isn't just an advent to at least one of the world’s so much brilliant nationwide cinemas, but additionally a provocative name to reimagine the very suggestions of “national cinemas” and “film genre.” difficult conventional severe assumptions that position Hollywood on the heart of style construction, Hye Seung Chung and David Scott Diffrient deliver South Korean cinema to the leading edge of contemporary and ongoing debates approximately globalization and transnationalism. In each one bankruptcy they music a special approach that South Korean filmmakers have tailored fabric from international assets, leading to every little thing from the Manchurian Western to The Host’s reinvention of the Godzilla mythos. 
Spanning quite a lot of genres, the e-book introduces readers to classics from the Fifties and Nineteen Sixties Golden Age of South Korean cinema, whereas supplying clean views on contemporary favorites like Oldboy and Thirst. excellent not just for fanatics of Korean movie, yet for a person fascinated by media in an period of globalization, Movie Migrations will provide readers a brand new appreciation for the artistic act of cross-cultural model.

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Extra resources for Movie Migrations: Transnational Genre Flows and South Korean Cinema

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Into the middle distance streams a group of men and women. The “new face” is noticed by a GI who addresses Myŏng-­suk in English, fishing for her name. The flirtation between the two is juxtaposed with a long shot of Myŏng-­suk’s disabled ex-­fiancé, Kyŏng-­sik (Yun Il-­bong), limping toward the scene from afar. Laughing mischievously, Myŏng-­suk runs away from the GI who claims her for the evening. The scurrying woman and her Korean lover with crutches bump into each other and fall to the ground.

Melodrama sided with underprivileged masses suffering social and familial alienation in the shadowy margins of modernization and economic development. Thus, in terms of its aesthetic characteristics and semantic ingredients, South Korean melodrama was seldom divested of its realistic, socially conscious core. Although many commentators observe the influence of Italian Neorealism and German Expressionism in The Stray Bullet,4 few scholars have pointed out the film’s intertextual relationship with Hollywood melodrama.

20 Despite the fact that the survey was conducted before the arrival of South Korean cinema’s fin-­de-­siècle renaissance initiated by a series of box-­office hits such as Contact (Chŏpsok, 1997), Whispering Corridors (Yŏgo koedam, 1998), Shiri (Swiri, 1999), Attack the Gas Station (Chuyuso sŭpkyŏk sagŏn, 1999), Joint Security Area (Kongdong kyŏngbiguyŏk, 2000), Friend (Ch’in’gu, 2001), and My Sassy Girl (Yŏpgijŏkin kŭnyŏ, 2001), it is both curious and disturbing that not a single Golden Age South Korean film appears on a list dominated by Classical and post-­Classical Hollywood cinema.

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Movie Migrations: Transnational Genre Flows and South Korean Cinema by Hye Seung Chung, David Scott Diffrient


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