عنوان مقاله [English]
نویسندگان [English]چکیده [English]
This research entitled “New South Korean Cinema” deals with a kind of genre bending in new film industry of South Korea; A wide-ranging analysis of one of the world's most important contemporary film industries, New Korean Cinema adopts a cross-cultural and multi-dimensional perspective and provides a comprehensive overview of the production, circulation and reception of modern South Korean cinema. This research describes various aspects of this new film industry and analyzes that. Despite its rise in the global market, recent political progress, and a surging interest worldwide, Korean films are relatively unknown and rarely studied. This new work begins by investigating the history, industry structure, and trends of filmmaking in Korea, going on to examine how Hollywood films have affected both Korean mainstream and nonmainstream film industries in terms of both means of production and narrative. Moreover, the authors analyze the ways in which Korean films of recent years have represented the modernization process in Korea itself, as well as the ideological implications that arise from the cinematic constructions of Korean imagination. More than a mere chronological account of Korean cinematic history, Korean Film attempts to consider the films as a popular cultural form that have a life beyond their theatrical runs: stars, genres, and key movies become part of any culture's identity, and in their narratives and meanings can be located evidence of the ways in which a culture makes sense of itself. Korea has never before been given such an extensive treatment of this central idea, and here for the first time, the nation's culture and cinema are merged into one discussion that both reflects and shapes our understanding of it. The introduction explains a short cultural history of South Korea of 1980s. After that the important elements that global cinema and New Korean cinema impress each other are explained in different aspects; Like Narrative, Acting, Editing and Music of film. It explains how New Korean Cinema gets some other elements of global cinema especially from Hollywood and gets back these elements to global cinema again especially Hollywood with a lot of changes. Although a large number of these changes is domestic in South Korea and fit on native desire and global audiences. In fact, the authors consider 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. The current boom being enjoyed by Korean cinema is less of an extraordinary circumstance, than a case of the industry finally reaching its natural state. Since its earliest beginnings, Korean cinema has been hampered by Japanese colonization, national division, civil war, authoritative military governments, strict censorship, and highly restrictive, distorting film regulations. Only in the 1990s did Korean cinema finally enjoy a supportive government, a stable economic environment and a sensible film policy. Although the amazing commercial boom that has powered the film industry in recent years may well fade to more modest levels, and be one of powerful cinema industry of the world.