• Cross-Cultural Studies
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• v.20
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• pp.323-346
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• 2010

This study reviews critical literatures regarding Asian cinema, focusing on studies of Japanese cinema, to show that Western scholarship on non-Western national cinemas have been divided into two approaches: traditionalism and modernism. It argues that such a division is not merely a critical tendency but indicative of the fact that a national cinema is an internally divided construct. To support the point, this study examines Chinese film studies conducted by Chinese film critics and the history of South Korean cinema during the 1970s and 80s. Then, it proposes the hegemony model to theorize the inner structure of national cinema. It finally suggests the possibility of comparative film study that the national cinema thesis may activate.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.227-238
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• 2022

This paper studies the change process and characteristics of the 'Korean community cinema movement'. The community cinema movement that has been active since the 2010's can be said to be a turning point in the Korean film culture movement. However, academic and policy definitions and research on the community cinema movement are extremely insufficient and only appear in some seminars or policy research reports. This study aims to discover the characteristics of the 'Korean community cinema movement' in the flow of the Korean alternative screening movement. A comparative study through a diachronic approach to the Korean alternative screening movement and case analysis of community cinema is intended to identify the characteristics of Korean community cinema and suggest policy measures for which a support system has not yet been prepared.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.53-98
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• 2021

This paper examines the ways in which Hollywood feature films produced and widely circulated with the establishment of the studio system was consumed in the ethnically segregated Korean movie theaters in Kyǒngsǒng in the 1920s. Focusing on how those theaters appropriated what Hollywood represented, this paper has three objectives. First, from a historical and economic perspective, I will historicize the emergence of so-called prestige pictures and how movies became a branded product in that process. Second, I will also loot at how Chosǒn Theater, one of the earliest movie theaters in the Korean-resident area in Kyǒngsǒng who sought to be a prestigious movie palace actively exploited Hollywood brand, by foregrounding its Paramount connection, in particular. Lastly, through a close reading of weekly programmes and handbills, I will examine how these promotional print materials, as an intermediating medium, helped to supplement the audiences' viewing of Hollywood movies while creating loyal audiences.