This comprehensive book defines the significance of film-making and film viewing in Korea. Covering the introduction of motion pictures in 1903, Korean cinema during the Japanese colonial period (1910-45), and the development of North and South Korean cinema up to the 1990s, Lee introduces the works of Korea's major directors, and analyzes the Korean film industry in terms of production, distribution, and reception.
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Editorial Reviews
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"Lee's book does an excellent job of clearly organizing the films so that they reflect how Koreans have seen themselves..." -- Korean Quarterly
About the Author
Hyangjin Lee is a Senior Teaching Fellow in the School of East Asian Studies at the University of Sheffield.
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5.0 out of 5 stars
contemporary korean cinema: a rosetta stone for decoding north korea,
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This review is from: Contemporary Korean Cinema: Culture, Identity and Politics (Paperback)
Hyangjin Lee's "Contemporary Korean Cinema: Identity, Culture, Politics" has a main text less than 200 pages in length and devotes only 50 percent of its space to North Korea. Even so, the book is one of the most valuable studies available on North Korea, for Lee demonstrates throughout the book how "film is essentially a construct....a creation reflecting salient aspects of a prevailing ideology." That this is especially important in the case of North Korea is due to the fact that all movies in this tightly-controlled state are prdouced and scripted by the government and that the guiding hand behind cinema since the late 1960s has been none other than Kim Chong-il's.
It is clear from the introduction to "Contemporary Korean Cinema" that Lee has been classically trained in the theory of cinematic studies. The chapters that follow, meanwhile, indicate that she has a superb ability to analyze the aesthetics and symbolism of individual films. At the same time, she traces, with a most laudable economy, changing trends in North Korean ideology. This last feature, in particular, makes this book a must-read for all those tracking the arcana of P'yongyang politics. "Contemporary Korean Cinema" is also a welcome introduction to the film of South Korea, with which audiences in the West, Asia, and the Middle East are more familiar. As South Korean film and television gain ever greater popularity overseas, Lee's book itself should merit increasing consideration and study.
5.0 out of 5 stars
Very Interesting Presentation,
By Cammie Kim (Los Angeles, California) - See all my reviews
This review is from: Contemporary Korean Cinema: Culture, Identity and Politics (Paperback)
Modern Korea is a complicated culture. This is particularly emphasized in Korean cinema and in its filmmaking tradition. In many cases, Korean cinema is propaganda based, as it attempts to present a very sterile view of how the countries inhabitants interact with each other, their society and their allegiance to the country. But there is a secondary breed of Korean cinema, where the characters are more deranged and live outside of the accepted cultural identity. This book identifies both elements of the cinema that comes form Korea and the foundational factors, such as Japanese occupation, that have given birth to modern cinema in this country.
Overall this is a very good book as it presents aspects of the foundations and the application of modern Korea filmmaking.
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Inside This Book
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First Sentence:
One of the most distinctive traits of Korean film is its strong political nature. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
revolutionary literary art, nationalistic films, yangban class, film policies, film policy, banner bearer, film movement, new magistrate, literary films Key Phrases - Capitalized Phrases (CAPs): (learn more)
North Korean, South Korean, Kim Il Sung, Kim Jong, Korean War, Stray Bullet, Kuro Arirang, Ch'oe Hakshin's Family, Nice Windy Day, The Sea of Blood, Untrodden Path, Shin Sangok, The Banner Bearer, Pak Kwangsu, The Brigade Commander's Former Superior, General Kim, Film Studios, Party Publishing House, The Righteous Revenge, Cold War, Motion Picture Act, The Plighted Love, Kim Sunam, Ch'oe In'gyu, People's Prize Winner New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
One of the most distinctive traits of Korean film is its strong political nature. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
revolutionary literary art, nationalistic films, yangban class, film policies, film policy, banner bearer, film movement, new magistrate, literary films Key Phrases - Capitalized Phrases (CAPs): (learn more)
North Korean, South Korean, Kim Il Sung, Kim Jong, Korean War, Stray Bullet, Kuro Arirang, Ch'oe Hakshin's Family, Nice Windy Day, The Sea of Blood, Untrodden Path, Shin Sangok, The Banner Bearer, Pak Kwangsu, The Brigade Commander's Former Superior, General Kim, Film Studios, Party Publishing House, The Righteous Revenge, Cold War, Motion Picture Act, The Plighted Love, Kim Sunam, Ch'oe In'gyu, People's Prize Winner New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 78
books:
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1
book
cites this book:
- Selected Works by Cleveland Museum of Art on page 64, page 65, and Back Matter
- Film Theory and Criticism: Introductory Readings by Leo Braudy in Front Matter, Back Matter (1), and Back Matter (2)
- Karl Marx: Selected Writings by Karl Marx in Front Matter, page 185, and Back Matter
- Concepts in Film Theory (Galaxy Books) by J. Dudley Andrew in Front Matter (1), Front Matter (2), and Back Matter
- Karl Marx: Man and Fighter (Pelican) by Boris Nicolaievsky in Front Matter, page 185, and Back Matter
See all 78 books this book cites
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