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Essay / Research Paper Abstract
A 6 page paper which examines how the Korean film industry has been transformed in recent years, achieving success both domestically and internationally, discusses reasons for the turnaround, compares the Korean experience with Japanese and Chinese experiences, and considers the role Hollywood has played in the fortunes of Asian (Korean, Japanese and Chinese) cinema. Bibliography lists 7 sources.
Page Count:
6 pages (~225 words per page)
File: TG15_TGkorcin.rtf
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Unformatted sample text from the term paper:
reviewer Darcy Paquet, can be attributed to "strong governmental support, the expansion of local film-making technology, a generational change in the industry, and a populace that worships cinema" (Paquet).
Films are certainly nothing new in Korea, with the first screening taking place in 1903 and have been produced in, albeit rather small numbers, since 1919 (Slide, 1989). Interestingly,
the evolution of the Korean film industry parallels its tumultuous political history. Two years after the end of World War II, North Korea established its National Film Studio, which
has often served as an instrument of propaganda by its Communist government (Slide, 1989). South Korea established its own film industry a few years later, but has certainly made
up for lost time. However, like North Korea, there has often been serious government interference, which has compromised the creativity of South Korean filmmakers (Slide, 1989). For example,
during the 1960s, according to an article published in The New York Times, the South Korean Central Intelligence Agency was closely monitoring productions, and any film that articulated any type
of sympathetic portrayal of Communists was promptly censored (Slide, 1989). In fact, one director was even sentenced to two months in prison for depicting a Communist official as "a
warm human being" (Slide, 1989, p. 229). The Korean film industry has evolved very differently on both sides of the 38th parallel. In North Korea, historically, films were produced
for domestic audiences only and are rarely distributed internationally (Slide, 1989). However, with democracy now flourishing in South Korea, the film industry is poised to defend their domestic productions
against the heavy competition from American films that have benefited significantly from the foreign imports quota system (Myung-Hee, 2000). So far, the statistics have been extremely impressive. In
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