Part 1. Part 2. Part 3. Asia Extreme and the Westernisation of South Korean Film Music. The most popular avenue for South Korean cinema to enter the West, outside of the art-house festival circuit, is in the form that has loosely been dubbed “Asia Extreme”. This isn’t just South Korean film but also Japanese cinema as well as a number of others. The sub-genre is … Continue reading South Korean Film Scores and Ease of Distribution – Part 4 (Asia Extreme and Westernisation)
Part 1. Part 2. The Music of Soo-Chul Kim and the P’ansori aesthetic. Soo-Chul Kim is the composer of the nondiegetic score for Seopyeonje, though it is unclear how much influence he had on the other musical aspects of the film. Looking at the film’s score, it can at first seem quite sparse once the diegetic P’ansori music is ignored. Soo-Chul Kim’s music recurs throughout … Continue reading South Korean Film Scores and Ease of Consumption – Part 3 (Seopyeonje’s P’ansori and Soo-Chul Kim).