With the increasing global success and globalization of the Korean film industry, the past two decades have seen Korean actors like Lee Byung-hun and Bae Doona star in American films, Korean auteurs such as Park Chan-wook and Bong Joon-ho direct English-language works, Korean American actors crossover to star in Korean films as with Steven Yeun and Ma Dong-seok, and Korean films be remade in the United States, China, and other markets. The Busan International Film Festival has also grown to become Asia's largest and most important film festival.
American film studios have also set up local subsidiaries like Warner Bros. Korea and 20th Century Fox Korea to finance Korean films like The Age of Shadows (2016) and The Wailing (2016), putting them in direct competition with Korea's Big Four vertically integrated domestic film production and distribution companies: Lotte Cultureworks (formerly Lotte Entertainment), CJ Entertainment, Next Entertainment World (NEW), and Showbox. Netflix has also entered Korea as a film producer and distributor as part of both its international growth strategy in search of new markets and its drive to find new content for consumers in the U.S. market amid the "streaming wars" with Disney, which has a Korean subsidiary, and other competitors.
With the surrender of Japan in 1945 and the subsequent liberation of Korea, freedom became the predominant theme in South Korean cinema in the late 1940s and early 1950s.[5] One of the most significant films from this era is director Choi In-gyu's Viva Freedom! (1946), which is notable for depicting the Korean independence movement. The film was a major commercial success because it tapped into the public's excitement about the country's recent liberation.[13]
However, during the Korean War, the South Korean film industry stagnated, and only 14 films were produced from 1950 to 1953. All of the films from that era have since been lost.[14] Following the Korean War armistice in 1953, South Korean president Syngman Rhee attempted to rejuvenate the film industry by exempting it from taxation. Additionally foreign aid arrived in the country after the war that provided South Korean filmmakers with equipment and technology to begin producing more films.[15]
Though filmmakers were still subject to government censorship, South Korea experienced a golden age of cinema, mostly consisting of melodramas, starting in the mid-1950s.[5] The number of films made in South Korea increased from only 15 in 1954 to 111 in 1959.[16]
One of the most popular films of the era, director Lee Kyu-hwan's now lost remake of Chunhyang-jeon (1955), drew 10 percent of Seoul's population to movie theaters[15] However, while Chunhyang-jeon re-told a traditional Korean story, another popular film of the era, Han Hyung-mo's Madame Freedom (1956), told a modern story about female sexuality and Western values.[17]
South Korean filmmakers enjoyed a brief freedom from censorship in the early 1960s, between the administrations of Syngman Rhee and Park Chung Hee.[18]Kim Ki-young's The Housemaid (1960) and Yu Hyun-mok's Obaltan (1960), now considered among the best South Korean films ever made, were produced during this time.[7] Kang Dae-jin's The Coachman (1961) became the first South Korean film to win an award at an international film festival when it took home the Silver Bear Jury Prize at the 1961 Berlin International Film Festival.[19][20]
When Park Chung Hee became acting president in 1962, government control over the film industry increased substantially. Under the Motion Picture Law of 1962, a series of increasingly restrictive measures was enacted that limited imported films under a quota system. The new regulations also reduced the number of domestic film-production companies from 71 to 16 within a year. Government censorship targeted obscenity, communism, and unpatriotic themes in films.[21][22]
Nonetheless, the Motion Picture Law's limit on imported films resulted in a boom of domestic films. South Korean filmmakers had to work quickly to meet public demand, and many films were shot in only a few weeks. During the 1960s, the most popular South Korean filmmakers released six to eight films per year. Notably, director Kim Soo-yong released ten films in 1967, including Mist, which is considered to be his greatest work.[19]
In 1967, South Korea's first animated feature film, Hong Kil-dong, was released. A handful of animated films followed including Golden Iron Man (1968), South Korea's first science-fiction animated film.[19]
Censorship and propaganda (1973–1979)
Government control of South Korea's film industry reached its height during the 1970s under President Park Chung Hee's authoritarian "Yusin System." The Korean Motion Picture Promotion Corporation was created in 1973, ostensibly to support and promote the South Korean film industry, but its primary purpose was to control the film industry and promote "politically correct" support for censorship and government ideals.[23] According to the 1981 International Film Guide, "No country has a stricter code of film censorship than South Korea – with the possible exception of the North Koreans and some other Communist bloc countries."[24]
Only filmmakers who had previously produced "ideologically sound" films and who were considered to be loyal to the government were allowed to release new films. Members of the film industry who tried to bypass censorship laws were blacklisted and sometimes imprisoned.[25] One such blacklisted filmmaker, the prolific director Shin Sang-ok, was kidnapped by the North Korean government in 1978 after the South Korean government revoked his film-making license in 1975.[26]
The propaganda-laden movies (or "policy films") produced in the 1970s were unpopular with audiences who had become accustomed to seeing real-life social issues onscreen during the 1950s and 1960s. In addition to government interference, South Korean filmmakers began losing their audience to television, and movie-theater attendance dropped by over 60 percent from 1969 to 1979.[27]
Films that were popular among audiences during this era include Yeong-ja's Heydays (1975) and Winter Woman (1977), both box office hits directed by Kim Ho-sun.[26]Yeong-ja's Heydays and Winter Women are classified as "hostess films," which are movies about prostitutes and bargirls. Despite their overt sexual content, the government allowed the films to be released, and the genre was extremely popular during the 1970s and 1980s.[22]
Recovery (1980–1996)
In the 1980s, the South Korean government began to relax its censorship and control of the film industry. The Motion Picture Law of 1984 allowed independent filmmakers to begin producing films, and the 1986 revision of the law allowed more films to be imported into South Korea.[21]
In 1988, the South Korean government lifted all restrictions on foreign films, and American film companies began to set up offices in South Korea. In order for domestic films to compete, the government once again enforced a screen quota that required movie theaters to show domestic films for at least 146 days per year. However, despite the quota, the market share of domestic films was only 16 percent by 1993.[21]
The South Korean film industry was once again changed in 1992 with Kim Ui-seok's hit film Marriage Story, released by Samsung. It was the first South Korean movie to be released by business conglomerate known as a chaebol, and it paved the way for other chaebols to enter the film industry, using an integrated system of financing, producing, and distributing films.[29]
It is important to note that until 1996, when the Film Promotion Law was passed,[30] the film industry was still subject to censorship. Censoring of scripts in pre-production was officially dismissed in the late 1980s, still producers were unofficially expected to present two copies to the Public Performance Ethics Committee,[31] who had the power to modify by completely cutting scenes.[32]
Renaissance (1997–present)
As a result of the 1997 Asian financial crisis, many chaebols began to scale back their involvement in the film industry. However, they had already laid the groundwork for a renaissance in South Korean film-making by supporting young directors and introducing good business practices into the industry.[29] "New Korean Cinema," including glossy blockbusters and creative genre films, began to emerge in the late 1990s and 2000s.[6] At the same time, representation of women in visual media drastically declined in the aftermath of the 1997 IMF Crisis.[33]
South Korean cinema saw domestic box-office success exceeding that of Hollywood films in the late 1990s largely due to screen quota laws that limited the public showing foreign films.[34] First enacted in 1967, South Korea's screen quota placed restrictions on the number of days per year that foreign films could be shown at any given theater—garnering criticism from film distributors outside South Korea as unfair. As a prerequisite for negotiations with the United States for a free-trade agreement, the Korean government cut its annual screen quota for domestic films from 146 days to 73 (allowing more foreign films to enter the market).[35] In February 2006, South Korean movie workers responded to the reduction by staging mass rallies in protest.[36] According to Kim Hyun, "South Korea's movie industry, like that of most countries, is grossly overshadowed by Hollywood. The nation exported US$2 million-worth of movies to the United States last year and imported $35.9 million-worth".[37]
Director Bong Joon-ho's The Host (2006) and later the English-language film Snowpiercer (2013), are among the highest-grossing films of all time in South Korea and were praised by foreign film critics.[41][9][42]Yeon Sang-ho's Train to Busan (2016), also one of the highest-grossing films of all time in South Korea, became the second highest-grossing film in Hong Kong in 2016.[43]
The Korean Film Council has published box office data on South Korean films since 2004. As of March 2021, the top ten highest-grossing domestic films in South Korea since 2004 are as follows.[41]
Korean horror has entered its first fertile period in the 1960s.[46] Modern South Korean horror films are typically distinguished by stylish directing, themes of social commentary, and genre blending.[47] Horror films are designed to 'cool' the audience; traditionally, horror films are screened domestically during the summer months, as they are thought to be effective at lowering body temperature by providing 'chills'.[46]
Founded in 1996, the Busan International Film Festival is South Korea's major film festival and has grown to become one of the largest and most prestigious film events in Asia.[49]
South Korea at international festivals
The first South Korean film to win an award at an international film festival was Kang Dae-jin's The Coachman (1961), which was awarded the Silver Bear Jury Prize at the 1961 Berlin International Film Festival.[19][20] The tables below list South Korean films that have since won major international film festival prizes.
^오, 승훈; 김, 경애 (2 November 2021). "한국 최초의 영화관 '애관극장' 사라지면 안되잖아요" ["We Can't Let the First Movie Theater in Korea, 'Ae Kwan Theater' Disappear"]. The Hankyoreh (in Korean). Retrieved 10 September 2023.
^Gwon, Yeong-taek (10 August 2013). 한국전쟁 중 제작된 영화의 실체를 마주하다 [Facing the reality of film produced during the Korean War]. Korean Film Archive (in Korean). Archived from the original on 8 September 2014. Retrieved 13 March 2018.
^Kai Hong, "Korea (South)", International Film Guide 1981, p.214. quoted in Armes, Roy (1987). "East and Southeast Asia". Third World Film Making and the West. Berkeley, California: University of California Press. p. 156. ISBN0-520-05690-6.
^Paquet, Darcy. "The Korean Film Industry: 1992 To The Present" in New Korean Cinema. Edited by Chi-Yun Shin and Julia Stringer, 35. Edinburgh, U.K: Edinburgh University Press. 2005.
^Park, Seung Hyun. 2002. "Film Censorship And Political Legitimation In South Korea, 1987-1992". Cinema Journal 42 (1): 123. doi:10.1353/cj.2002.0024.
^Paquet, Darcy. 2009. New Korean Cinema: Breaking The Waves (Short Cuts). New York, USA: Columbia University Press.
^Sohn, Hee Jeong. 2020. "Feminism Reboot: Korean Cinema Under Neoliberalism In The 21St Century". Journal Of Japanese And Korean Cinema 12 (2): 100. doi:10.1080/17564905.2020.1840031.
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