By Nohchool Park

A Cultural Interpretation of the South Korean autonomous Cinema move, 1975-2004 examines the beginning and improvement of the self sustaining cinema flow in South Korea. The self reliant cinema circulation refers back to the motion pictures, movie theories, film-related cultural actions that emerged in an effort to rfile social realities, to recommend the liberty of inventive expression, and to symbolize the voices of marginalized social identities. My dissertation is the 1st try out in English movie scholarship on Korean cinema to discover the background of non-commercial filmmaking carried out within the identify of cinema flow from Nineteen Seventies to 2000s. the first resources of research for this examine comprise motion pictures, books, and archive fabrics. The hitherto unpublished thoughts and old details bought from the direct interviews with the autonomous filmmakers upload originality to this dissertation. Investigating the self reliant cinema stream bargains new views at the cultural examine of nationwide cinema flow and the prevailing scholarship of South Korean cinema. This dissertation questions the dominant historiography concerning South Korean cinema which facilities at the Sixties because the `golden age' of South Korean cinema and the Nineties as its renaissance. This place has a tendency to push aside the intervening many years of the Seventies and eighty because the `dark age' of the nationwide cinema. Defying the normal view, this examine indicates the presence of the recent iteration of filmmakers and younger cinephiles who introduced a chain of recent cinema activities from the Nineteen Seventies onward. during this regard, the Nineteen Seventies might be reinterpreted because the interval that marked the genesis of the hot wave recognition within the background of South Korean cinema. moment, this research analyzes the historical past of the self sufficient cinema circulation as a dialogic strategy among family cultural discourse and overseas movie theories. The filmmakers who initiated the self sustaining cinema circulate drew on Euro-American artwork cinemas, New Latin American Cinema, and the feminist movies from the West to include them into the household cultural context, generating the hot techniques similar to the Small movie, the People's Cinema and the woman's movie. This truth demanding situations the nationwide cinema discourse which presupposes that the background of South Korean cinema is verified in the closed circuit of the nationwide historical past and standard aesthetics. My dissertation is helping create an alternate viewpoint wherein to determine the development of nationwide cinema as essentially an interplay among indigenous well known discourses and overseas movie new waves. eventually, this dissertation takes under consideration the lively roles of the self sustaining filmmakers. It examines the movies and manuscripts produced via the filmmakers to work out how they invented and elaborated their positions approximately cinema circulate within the given cultural box in each one interval. It can pay realization to the cultural box the place the filmmakers are conditioned among what they desired to visualize and what's externally granted. Viewing a longtime cultural box as a hegemonic development, this examine additionally investigates the way transformation happens from one cultural box to a different.

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Given that discourse 16 which shapes how the minjung discourse refers to the world view that sees the history, culture, and politics of Korea in the interest of minjung. Certainly, the original producer of the minjung discourse should be the people themselves. In reality, however, it is intellectuals who created and enriched the discourse through such activities as history writing, literary creation, and cultural movements. This fact suggests that the intellectuals constructed the minjung discourse as a counter-cultural paradigm by which to resist governing ideologies such as militarism and industrialism.

185. , p. 7. 17 Ibid. , p. 39. , p. 36. , p. 45. , pp. 270-271. 23 Park Ji-Yeon, The policies and industry of South Korean cinema in the 1960sKorean Cinema History 1960-1979 (Seoul: KOFA, 2004), pp. 166-167. , 182. 25 The national policy film system was installed in 1975 and the quality film system in 1976. South Korean film scholar Park Chi-Hee government had been put into crisis due to challenges within and without since 1975. (See Park ChiKorean cinema in the 1960sA Study of South Korean Cinema History 1960-1979] (Seoul: KOFA, 2004), pp.

36 Film critic Kim Sa-Kyum When Will We Meet Again? described the subjective conflicts between memory and oblivion, in 37 an aesthetic style similar to Baem, 1875) and Ha Kil-Chong Lee Won- Flower and Snake (Kkotqua The Ascension of Hannae (Hannae- , 1977) presented the Korean folktale about grudge and revenge and the Buddhist idea of reincarnation in their narratives, respectively. Adaptation of such indigenous subjects was rean- 38 Thus, the films of the Visual Age Group focused on creating their own idiosyncratic filmic images so as to demonstrate that filmmaking was beyond a simple weaving of separate images into a narrative structure.

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