South Korean Film Scores and Ease of Distribution – Part 4 (Asia Extreme and Westernisation)

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 … Continue reading South Korean Film Scores and Ease of Distribution – Part 4 (Asia Extreme and Westernisation)

South Korean Film Music and Ease of Distribution – Part 1 (Tradition vs. Globalisation).

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 … Continue reading South Korean Film Music and Ease of Distribution – Part 1 (Tradition vs. Globalisation).

Festival (1996) and the Acceptance of Loss – Im Kwon-Taek.

Celebrating loss can be a difficult task even for the more optimistic of personas.  The idea of someone being physically and emotionally lost is not a pleasant experience which, at best can provide some cathartic character building in between the tears and complete incomprehension as to what exactly it means to live or die.  It’s … Continue reading Festival (1996) and the Acceptance of Loss – Im Kwon-Taek.

Aguirre, The Wrath of God – Werner Herzog (1972)

Werner Herzog is a dangerous director.  Not content with simply make believe, he appears to enjoy a masochistic relationship with actually putting himself through his own film’s narratives and challenges.  Perhaps he feels that it yields the best results but it’s obvious when watching any of his films that more blood, sweat and tears have … Continue reading Aguirre, The Wrath of God – Werner Herzog (1972)

Kwaidan – Masaki Kobayashi – (1964)

Thanks to films like Nakata’s Ringu and Shimizu’s Ju-On (The Grudge), Japanese horror is part of the popular pantheon of horrific cinema.  Many ghost films of the West borrow heavily from these two films but because of their enormous success, it seems that Kaiden (Japanese ghost stories) of the past are often overlooked for their more thrillingly modern counterparts. … Continue reading Kwaidan – Masaki Kobayashi – (1964)

Man With A Movie Camera – Dziga Vertov (1929)

With the exception of Sergei Eisenstein’s Battleship Potemkin, which is often reserved for the film students to endlessly moan about, Russian cinema seems like a wonderfully well-kept secret that defies trends and builds new ones of its own.  Dziga Vertov’s 1929 film Man With a Movie Camera is the perfect example of this and though it may not … Continue reading Man With A Movie Camera – Dziga Vertov (1929)