Dictatorships & Double Standards - Commentary …
TRACES OF KOREAN CINEMA FROM 1945-1959 (2003) by the Korean Film Archive (KOFA). Munhak Sasangsa, Inc: paperback (ISBN 89-7012-622-8) 326 pp. Bilingual Korean-English edition.
The first in a planned series of books about Korean film history, published in bilingual editions by the Korean Film Archive (KOFA). This particular edition contains essays on Korean film history focused on the period between Korea's liberation from Japan and the end of the 1950s. Articles within are written by KOFA President Yi Hyo-in and researcher Chung Chong Hwa. A large number of reproductions of period film stills and posters are also included. The original Korean articles as well as translated versions by Shim Ae Gyung are included together in this volume.
The Korean Film Community After the Liberation
Korean Films After the Liberation
The Political and Social Situation and the Trend in the Cultural Field in the Post-liberation Korea
The Korean Film Union and the USAMGIK
Why the Wartime Period is Important
Korean Films Produced in the Wartime Period
The Korean Film Production Situation and the Activities of Korean Film Engineers
Film Production Facilities and Film Equipment in Korea
Overflow of the Foreign Films
Ground for the Growth of Korean Cinema
Tendency of the 1950s Film Production
The Melodrama Era
, the Application of the Modern Thinking into a Film and the Repulsion Against It
The Formation of Male and Female Characters
Double Standards for Modernity
Narrative Structure of the Films in the 1950s
Legacy of the 1950s Films
The Asian-American Awakening: That ..
Coltish Kim Tae-ri, cast to appeal to more contemporary young Korean women (a total success in that regard), is best when she essays psychological confusion, when confronted by an alluring mystery in the form of her "mistress:" some of the film's best scenes involve Sook-hee's growing identification with Hideko, whom she initially sees as utterly naïve and powerless, a living doll.
Identity gymnastics aside, it is refreshing to see a Korean film that refuses to evade the reality concerning the co-mingling of Japanese and Korean cultures under the colonial conditions., set to open in North American theaters in October 21, 2016, had given its producers some heartburn prior to its June 1 domestic release, thanks to its heavily sexual content (making an adult-only viewer restriction an inevitability) and its predominantly Japanese dialogue, but the Korean viewers, especially the crucial young female demographic, by and large embraced the film, allowing it to rake in 4.29 million tickets.