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Coevolution of Conventions and Korean New Wave: Korean Cinema in the 1970s and 80s

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한국학중앙연구원 (The Academy of Korean Studies)|2019.12|Korea Journal|제59권 제4호|pp. 78-102|DOI 10.25024/kj.2019.59.4.78

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참고문헌

키워드

Jang-ho LeeKorean New WaveKwon-taek ImChang-ho BaeSun-woo JangGwang-su ParkMyung-se LeeJi-young JungGil-jong HaYeongsang sidae
주제분류한국어와문학

초록

Changes in Korean cinema during the 1970s and 80s served as the foundation for its takeoff in popularity in the 1990s. During this period, traditional Korean film production ideology and conventions were present, and the Korean New Wave can be said to be the result of the coevolution achieved while competing against such conventions. In this paper, I designate the main trends and films in Korean film history during the 1970s and 80s as the “Korean New Wave.” Korean New Wave encompasses the entire activities of the film movement group and the Korean film directors from the late 1980s to the mid-1990s. I discuss Gwang-su Park, Myung-se Lee, Sun-woo Jang, and Ji-young Jung as representative directors. However, Korean New Wave is not a sudden occurrence but rather a social and historical consequence. Its pre-history comprises Yeongsang sidae (The Age of Image) centered on director Gil-jong Ha of the 1970s as well as the New Wave prequel represented by Chang-ho Bae, Jang-ho Lee, and Kwon-ta Im in the 1980s. Beginning as a prelude to the New Wave, Barambuleo joeun-nal (A Fine Windy Day, 1980) by Jang-ho Lee and continuing with Neoege nareul bonaenda (To You from Me, 1994) by Sun-woo Jang, or even to the establishment of the Busan International Film Festival in 1996, Korean New Wave was a consequence of co-influences, collaboration, competition, and struggle between the old system of Korean cinema and the new challenges it faced. However, the elements of New Wave were made obsolete by the topographical changes of the film industry and audience culture that came after the mid-1990s.

Abstract

Changes in Korean cinema during the 1970s and 80s served as the foundation for its takeoff in popularity in the 1990s. During this period, traditional Korean film production ideology and conventions were present, and the Korean New Wave can be said to be the result of the coevolution achieved while competing against such conventions. In this paper, I designate the main trends and films in Korean film history during the 1970s and 80s as the “Korean New Wave.” Korean New Wave encompasses the entire activities of the film movement group and the Korean film directors from the late 1980s to the mid-1990s. I discuss Gwang-su Park, Myung-se Lee, Sun-woo Jang, and Ji-young Jung as representative directors. However, Korean New Wave is not a sudden occurrence but rather a social and historical consequence. Its pre-history comprises Yeongsang sidae (The Age of Image) centered on director Gil-jong Ha of the 1970s as well as the New Wave prequel represented by Chang-ho Bae, Jang-ho Lee, and Kwon-ta Im in the 1980s. Beginning as a prelude to the New Wave, Barambuleo joeun-nal (A Fine Windy Day, 1980) by Jang-ho Lee and continuing with Neoege nareul bonaenda (To You from Me, 1994) by Sun-woo Jang, or even to the establishment of the Busan International Film Festival in 1996, Korean New Wave was a consequence of co-influences, collaboration, competition, and struggle between the old system of Korean cinema and the new challenges it faced. However, the elements of New Wave were made obsolete by the topographical changes of the film industry and audience culture that came after the mid-1990s.

참고문헌 (70)

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