During the 2000s, the Korean cinema rose to prominence as one of the hot spots in the global film industry. Along with the U.S., India and Japan, the Korean cinema has now taken its place as one of the strongest local film industries. The contemporary Korean cinema embraces arthouse as well as commercial cinema, producing a variety of genre films based on Hollywood and other film conventions. Nonetheless, the Korean cinema has developed a hybrid entity of its own that mixes the local and the global (mainly Hollywood) through dynamic cultural and artistic processes of assimilating, modifying and re-creating. What we have come to call the ‘New Korean Cinema,’ with its real origins in the late 1980s, has reached maturity, and its exponents take pleasure in manipulating what they have learned from Hollywood. As such, this article analyzes the historical development of a confidence and willingness to take on creative challenges. The genre-bending practice found in the Korean Cinema, however, has its historical connection to the 1960s, which is best represented by a hybrid genre-bending quality unique to Korea’s film history, indeed, one that is characterized by the 1960s anticommunist film.
목차
Abstract INTRODUCTION ANTICOMMUNIST FILMS AND GENRE-BENDING REMEMBERING THE WAR THROUGH SPECTACLE:FlVE’ Aι4RINES (1961) SEPARATION MELODRAMA AND EMOTIONAL TENDERNESS: SOUTH AND NORTH (1965) COLD WAR POLITICS AND SPIES: CORRESPONDENT IN TOKYO (1967) GENRE-BENDING AS A KEY TO SURVIV AL REFERENCES
키워드
Golden Age Korean Cinemagenre-bendingNew Korean Cinemafilm historyanticommunist filmPark Chung-hee media policy
한국연구원은 1970년 5월 한국 민속의 각 분야에 걸친 자료의 수집과 학술적 연구를 목적으로 '한국민속연구소'로 출발하였다. 그 후 1973년 5월 연구 분야를 확대하며 민속뿐만 아니라 한국학 전반에 걸친 연구를 위해 '한국학연구소'로 개편하였고, 다시 1989년 3월 한국의 국제적 위상의 부상과 함께 한국학 연구의 중요성이 높아짐에 따라 '한국학연구원'으로 확대, 개편하였다. 한국학연구원은 한국학 전반에 걸친 연구를 통해 지역과 민족문화 발전에 기여하며 한국학의 세계화를 위해서 학술활동을 강화하고 나아가 내·외국인에 대한 한국문화 교육을 담당하고자 한다.