Part 1 Part 2 Part 3 Part 4 Blades of Blood (2010) – Joon-Ik Lee Joon-ik Lee’s 2010 film Blades of Blood shares a number of similarities with both the previously mentioned examples. The film is a modern, violent period picture based on a graphic novel. It is stylistically similar to Oldboy, especially within its colour palate though rarely recreates the standard set by Park. … Continue reading South Korean Film Scores and Ease of Distribution – Part 5 (Blades of Blood and Conclusions)
Im Kwon-Taek’s post Seopyeonje (1993) work perhaps feeds into the more art house desires and pressures from the west but on the cusp of this, his earlier genre film work still managed to show through in his 1990 film The General’s Son. While on its faded surface is a relatively clichéd crime drama with added kung-fu style violence, in between its more ridiculous and pulpy … Continue reading The General’s Son (1990) and Genre-Film Subversion (Im Kwon-Taek).
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).
The preservation and evolution of South Korean cultural traditions became the dominant focus of Im Kwon-Taek’s films after the ease of censorship in a change of government regime. A number of his post-genre cinema began to address this though the real cultural reactions can be found in later work which can effectively be called post-Cannes; meaning the cinema he made during his currently slow but … Continue reading Chi-hwa-seon (2002) – Im Kwon-Taek.
Part 1. Im Kwon-Taek – Reluctant Traditionalist or Radical Experimenter? “Despite its ideological shortcomings and male-centred stance, Im’s cinematic sublimation of ‘Korean-ness’ still focuses on the contradictions between tradition and modernity among precarious lives existing on the periphery of a capitalist society.” (Lee, 2005, p.69) It is somewhat difficult to gage the cultural impact of a director’s films on a country outside of your own. … Continue reading South Korean Film Scores and Ease of Distribution – Part 2 (Im Kwon-Taek and Seopyeonje).
Tradition vs. Globalisation: The Relationships between South Korean Film Music and Its Ease of Consumption and Distribution. Introduction The Effect Of Globalisation Pressure On South Korean Cinema. “The core problem is no doubt that most of us in the West know little or nothing of Korea’s modern history. It’s impossible to understand Korea’s artists without knowing the context in which they worked…” (Rayns, 2012, p.40). … Continue reading South Korean Film Music and Ease of Distribution – Part 1 (Tradition vs. Globalisation).