โ Scribed by Chi-Yun Shin; Julian Stringer
No coin nor oath required. For personal study only.
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. Together with discussions of Korean society and culture, it considers the political economy of the film industry, strategies of domestic and international distribution and marketing, the consumption of films in diverse reception environments, and the relation of film texts to their cultural, historical and social contexts. Gathering critics from Asia, Europe and North America, New Korean Cinema contributes to the discussion of the complex role played by national and regional cinemas in a global age. It will be of interest to students and critics of Popular Culture and Film Studies as well as East Asian Studies and Korean Studies.
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A wide-ranging analysis of modern South Korean cinema.
<P> <i>New Korean Cinema</i> charts the dramatic transformation of South Korea's film industry from the democratization movement of the late 1980s to the 2000s new generation of directors. The author considers such issues as government censorship, the market's embrace of Hollywood films, and the soc
<p>The first detailed English-language book on Korean horror introduces the cultural specificity of the genre to an international audience, from the iconic monsters of gothic horror, to the avenging killers of <i>Oldboy</i> and <i>Death Bell</i>.</p> <p> Beginning in the 1960s, it traces a path thro
The first detailed English-language book on Korean horror introduces the cultural specificity of the genre to an international audience, from the iconic monsters of gothic horror, to the avenging killers of Oldboy and Death Bell. Beginning in the 1960s, it traces a path through the history of Korean
The first detailed English-language book on Korean horror introduces the cultural specificity of the genre to an international audience, from the iconic monsters of gothic horror, to the avenging killers of Oldboy and Death Bell. Beginning in the 1960s, it traces a path through the history of Korean