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New Korean Cinema: Breaking the Waves (Short Cuts)
 
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New Korean Cinema: Breaking the Waves (Short Cuts) [Paperback]

Darcy Paquet (Author)
5.0 out of 5 stars  See all reviews (1 customer review)

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Book Description

Short Cuts April 19, 2010

New Korean Cinema charts the dramatic transformation of South Korea's film industry from the democratization movement of the late 1980s to the 2000s new generation of directors. The author considers such issues as government censorship, the market's embrace of Hollywood films, and the social changes which led to the diversification and surprising commercial strength of contemporary Korean films. Directors such as Hong Sang-soo, Kim Ki-duk, Park Chan-wook, and Bong Joon-ho are studied within their historical context together with a range of films including Sopyonje (1993), Peppermint Candy (1999), Oldboy (2003), and The Host (2006).


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Editorial Reviews

About the Author

Darcy Paquet is the founder of Koreanfilm.org and visiting professor in the Department of Film and Theatre at Kyunghee University. A former reporter for Screen International and Variety, he has lived in Seoul since 1997.


Product Details

  • Paperback: 144 pages
  • Publisher: Wallflower Press (April 19, 2010)
  • Language: English
  • ISBN-10: 1906660255
  • ISBN-13: 978-1906660253
  • Product Dimensions: 7.7 x 5.9 x 0.6 inches
  • Shipping Weight: 8.5 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #39,940 in Books (See Top 100 in Books)

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4 of 6 people found the following review helpful:
5.0 out of 5 stars Best book on new Korean Cinema, May 15, 2010
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This review is from: New Korean Cinema: Breaking the Waves (Short Cuts) (Paperback)
This is a well-written, intelligent survey of the most crucial years in the development of recent Korean cinema. Paquet obviously knows his stuff and seems to have lived through some of it (he lives in Korea). What's most useful is the historical and social perspective and context in which Paquet frames his account. For those of us who don't know much about Korea, it helps deepen our understanding of the films themselves and the environment in which Korean cinema took hold of the world's imagination at the end of the 20th century. It's a necessary corrective to all that misinformation you find from fanboys, opportunistic blogs, and amateurs who don't know their Park Chan-wook from Don Siegel. An absolute necessity for anyone's collection - even if you only have a passing interest in cinema, this book will tell you a lot about Korea itself.

Now if only Paquet would turn his attention to the deeper riches of Korean cinema of the 1950s and 1960s!
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