This book is about Korean cinema. The first half of the book has been dedicated to discuss the history of Korean cinema, where the book gives a general background about Korean cinema from 1903 up to 1980. In chapter one the author has discussed – how motion picture arrived in colonized Korea (the origin); The exhibition of moving pictures and the advent of Korean cinema (such as Park Jung -hyun’s interference by making The story of *Jang -hwa*and *Hong Ryeon* in 1924) ; Japanese colonial period and heyday of silent films; conflict between colonialism and nationalism; Motion picture and film censorship regulation; ‘Arirang’ and national cinema;
The KAPE cinema movement and left wing films; The sound film and militarism; The first Korean sound film (The Story of Chun- ‘hyang’ in 1930); The motion picture law; Liberation and the Korean war as a one of the main components of Korean cinema; Policies to promote the film industry after the Koran war; The Korean cinema renaissance in 1960′s; The authoritarian period and depression of the film industry; The formation of the teen audience for high teen films.
The second half of the book presents a detailed analysis of modern Korean cinema since 1980s up to now. It includes the following essays: The pressure group of Korean cinema; Liberation of production and foreign film imports; Film education in Korea (such as The Korean Academy of Film Art); The beginning of Hollywood direct distribution and resistance; The small-scale theatre culture and the popularization of videos; The new Korean cinema movement;
The development of alternative and independents films; Changes in the Korean film industry after direct distribution; The advent of Korean new wave (along with Park Kwang-su); Sopyonje, Im Kwon-taek and the revival of nationalism (in 1993); Art film exhibition: from videoteques to Art film theatre; Defend the screen quota system; The enactment of the film promotion law and the launch of the Korean film council; The growth and outlook of Korea cinema since 1996 (growth in quantity and growth in quality); The launch of film festivals (such as Pusan, Puchon, Jeonju, Seoul etc); Multiplex theatre system.
The third half of the book includes an in-depth critical analysis on Kim Ki-duk’s film language which will focus on: The biography of Kim Ki-duk; His way of using of film language; Avant-garde attribution of Kim Ki-duk in making films; Analytical essays on films text of Kim Ki- such as Bad guy, Spring, Summer, Fall, Winter… and Spring, Samaritan Girl and 3-Iron.
Author :Sanjeewa Pushpakumara
Published by Sarasavi Prakashakayo
Year – 2009