Full Service Cinema: The South Korean Cinema Success Story (So Far) :: Free Essays Online

teeming Service picture show The sulfur Korean Cinema Success narration (So Far)Fifteen years ago, southern roughly Korean film was in astute decline. It was confront deadly competition from Hollywood as import barriers were dismantled, and had well-nigh no export market. Today, southeastern Korean cinema is widely considered the most prospering and signifi arseholet non-Hollywood cinema anyplace in the world today. It is successful both in the domestic market, and internationally. This test sets out to understand this phenomenon. First, it strains to tie South Korean cinemas comeback story. I tactual sensation a need to do this because I find that so many a(prenominal) of my South Korean friends and colleagues are loth(p) to admit this, or reduce solely on the problems the industry is facing in the future. There whitethorn be worries round the future and in that respect may be ifs and buts most the present state of the South Korean film industry. But we should s ire out by acknowledging its success.In considering some(a) of the reasons for the recent success of South Korean cinema, two further observations can be made. First, if we pay oversight to the international export success of South Korean cinema, we can draw that it has carved out a late route. This is based on regional markets at least as lots as Europe and the coupled States. Second, unlike the successes of the Taiwanese and Chinese radical waves since the 1980s, it is not based on the old European art cinema model. This raises a question about the viability of art cinema, free feature films, wretched films, independent documentary, and former(a) less(prenominal) profitable and moneymaking(prenominal) modes of film make in South Korea. It may even moderate some people to believe that those other modes of filmmaking are not an intrinsical part of the new South Korean cinema success story. Yet, my terzetto and final point will be to argue against this and for the importan ce of what I want to tentatively call copious service cinema, including a blanket(a) range of modes of production and consumption. In making this point, I want to contest another real common assertion not only in South Korea but everywherethe liking that art cinema and independent cinema are opposed to mainstream commercial cinema. While there may be an aesthetic opposition amongst them, it is a strategic err to translate this into an institutional opposition. Even though their philosophies may be very different, as I will attempt to outline today, they need to each one other to succeed.Full Service Cinema The South Korean Cinema Success Story (So Far) Free Essays OnlineFull Service Cinema The South Korean Cinema Success Story (So Far)Fifteen years ago, South Korean cinema was in precipitous decline. It was facing deadly competition from Hollywood as import barriers were dismantled, and had almost no export market. Today, South Korean cinema is widely considered the most successful and significant non-Hollywood cinema anywhere in the world today. It is successful both in the domestic market, and internationally. This essay sets out to understand this phenomenon. First, it attempts to trace South Korean cinemas comeback story. I feel a need to do this because I find that so many of my South Korean friends and colleagues are reluctant to admit this, or focus solely on the problems the industry is facing in the future. There may be worries about the future and there may be ifs and buts about the present state of the South Korean film industry. But we should start out by acknowledging its success.In considering some of the reasons for the recent success of South Korean cinema, two further observations can be made. First, if we pay attention to the international export success of South Korean cinema, we can see that it has carved out a new route. This is based on regional markets at least as much as Europe and the United States. Second, unlike the succe sses of the Taiwanese and Chinese new waves since the 1980s, it is not based on the old European art cinema model. This raises a question about the viability of art cinema, independent feature films, short films, independent documentary, and other less profitable and commercial modes of filmmaking in South Korea. It may even lead some people to believe that those other modes of filmmaking are not an integral part of the new South Korean cinema success story. Yet, my third and final point will be to argue against this and for the importance of what I want to tentatively call full service cinema, including a full range of modes of production and consumption. In making this point, I want to challenge another very common assumption not only in South Korea but everywherethe idea that art cinema and independent cinema are opposed to mainstream commercial cinema. While there may be an aesthetic opposition between them, it is a strategic mistake to translate this into an institutional oppos ition. Even though their philosophies may be very different, as I will attempt to outline today, they need each other to succeed.