THREE PERIODS OF KOREAN QUEER CINEMA: INVISIBLE, CAMOUFLAGE, AND BLOCKBUSTER
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The LGBT movement in Korea may have a relatively short history dating back to the mid-1990s, yet Korean queer cinema has had a unique role in breaking ground in the LGBT realm well before the onset of social activism. We break down the history of Korean queer cinema into three distinct chronological periods, according to the manner in which queer content is displayed and the reception of the films by both the government authorities and the public: the Invisible Age (1976–1998), the Camouflage Age (1998–2005), the Blockbuster Age (2005–present). The Invisible Age could reach as far back as the earliest days of Korean cinema, but two landmark films deserve attention: Ascetic and Broken Branches. The former in particular characterizes the period when its lesbianism was too invisible in the eyes of the public to create much of an impact. Even with the relaxed ‘ethical standards’ since 1998, homosexuality was still deemed too explosive. In the Age of Camouflage, therefore, such popular films as Memento Mori and Bungee Jumping of Their Own masked their homosexual content with horror and romance fantasies. The mega-success of The King and the Clown has proven that LGBT-themed films can compete in the box office, opening the Blockbuster Age of queer cinema. While the ‘flower boy’ formula of beautiful gay character in The King and the Clown has been widely adopted by the mainstream film and entertainment industries, No Regret exemplifies a genre-bending strategy to express queer sexualities in Korean independent cinema.
Abstract
The LGBT movement in Korea may have a relatively short history dating back to the mid-1990s, yet Korean queer cinema has had a unique role in breaking ground in the LGBT realm well before the onset of social activism. We break down the history of Korean queer cinema into three distinct chronological periods, according to the manner in which queer content is displayed and the reception of the films by both the government authorities and the public: the Invisible Age (1976–1998), the Camouflage Age (1998–2005), the Blockbuster Age (2005–present). The Invisible Age could reach as far back as the earliest days of Korean cinema, but two landmark films deserve attention: Ascetic and Broken Branches. The former in particular characterizes the period when its lesbianism was too invisible in the eyes of the public to create much of an impact. Even with the relaxed ‘ethical standards’ since 1998, homosexuality was still deemed too explosive. In the Age of Camouflage, therefore, such popular films as Memento Mori and Bungee Jumping of Their Own masked their homosexual content with horror and romance fantasies. The mega-success of The King and the Clown has proven that LGBT-themed films can compete in the box office, opening the Blockbuster Age of queer cinema. While the ‘flower boy’ formula of beautiful gay character in The King and the Clown has been widely adopted by the mainstream film and entertainment industries, No Regret exemplifies a genre-bending strategy to express queer sexualities in Korean independent cinema.
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