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Digital intermediary: Korean transnational cinema

Journal Article


Abstract


  • Since censorship was lifted in Korea in 1996, collaboration between Korean and

    foreign filmmakers has grown in both extent and visibility. Korean films have been

    shot in Australia, New Zealand and mainland China, while the Korean digital postproduction

    and visual effects firms behind blockbusters infused with local effects

    have gone on to work with filmmakers from greater China and Hollywood. Korean

    cinema has become known for its universal storylines, genre experimentation and

    high production values. The number of exported Korean films has increased, as

    has the number of Korean actors starring in films made in other countries. Korea

    has hosted major international industry events. These milestones have facilitated an

    unprecedented international expansion of the Korean film industry. With the advent

    of the ‘digital wave’ in Korea – the film industry’s transition to digital production

    practices – this expansion has accelerated. Korean film agencies – the pillars of

    the national cinema – have played important parts in this internationalisation,

    particularly in promoting Korean films and filmmakers outside Korea and in

    facilitating international events in Korea itself. Yet, for the most part, projects

    involving Korean filmmakers working in partnership with filmmakers from other

    countries are the products of individuals and businesses working outside official

    channels. That is, they are often better understood as ‘transnational’ rather than

    ‘national’ or ‘international’ projects. In this article, we focus on a range of

    collaborations involving Korean, Australian, New Zealand and Chinese filmmakers

    and firms. These collaborations highlight some of the forces that have shaped the

    digital wave in the Korean film industry, and illustrate the increasingly influential

    role that the digital expertise of Korean filmmakers is playing in film industries,

    both regionally and around the world.

Authors


  •   Yecies, Brian
  •   Shim, Ae-Gyung (external author)
  •   Goldsmith, Ben (external author)

Publication Date


  • 2011

Citation


  • Yecies, B., Shim, A. & Goldsmith, B. (2011). Digital intermediary: Korean transnational cinema. Media International Australia Incorporating Culture and Policy: Quarterly Journal of Media Research and Resources, (141), 137-145.

Scopus Eid


  • 2-s2.0-84864414948

Ro Metadata Url


  • http://ro.uow.edu.au/artspapers/1160

Has Global Citation Frequency


Number Of Pages


  • 8

Start Page


  • 137

End Page


  • 145

Issue


  • 141

Place Of Publication


  • St Lucia, Queensland, Australia

Abstract


  • Since censorship was lifted in Korea in 1996, collaboration between Korean and

    foreign filmmakers has grown in both extent and visibility. Korean films have been

    shot in Australia, New Zealand and mainland China, while the Korean digital postproduction

    and visual effects firms behind blockbusters infused with local effects

    have gone on to work with filmmakers from greater China and Hollywood. Korean

    cinema has become known for its universal storylines, genre experimentation and

    high production values. The number of exported Korean films has increased, as

    has the number of Korean actors starring in films made in other countries. Korea

    has hosted major international industry events. These milestones have facilitated an

    unprecedented international expansion of the Korean film industry. With the advent

    of the ‘digital wave’ in Korea – the film industry’s transition to digital production

    practices – this expansion has accelerated. Korean film agencies – the pillars of

    the national cinema – have played important parts in this internationalisation,

    particularly in promoting Korean films and filmmakers outside Korea and in

    facilitating international events in Korea itself. Yet, for the most part, projects

    involving Korean filmmakers working in partnership with filmmakers from other

    countries are the products of individuals and businesses working outside official

    channels. That is, they are often better understood as ‘transnational’ rather than

    ‘national’ or ‘international’ projects. In this article, we focus on a range of

    collaborations involving Korean, Australian, New Zealand and Chinese filmmakers

    and firms. These collaborations highlight some of the forces that have shaped the

    digital wave in the Korean film industry, and illustrate the increasingly influential

    role that the digital expertise of Korean filmmakers is playing in film industries,

    both regionally and around the world.

Authors


  •   Yecies, Brian
  •   Shim, Ae-Gyung (external author)
  •   Goldsmith, Ben (external author)

Publication Date


  • 2011

Citation


  • Yecies, B., Shim, A. & Goldsmith, B. (2011). Digital intermediary: Korean transnational cinema. Media International Australia Incorporating Culture and Policy: Quarterly Journal of Media Research and Resources, (141), 137-145.

Scopus Eid


  • 2-s2.0-84864414948

Ro Metadata Url


  • http://ro.uow.edu.au/artspapers/1160

Has Global Citation Frequency


Number Of Pages


  • 8

Start Page


  • 137

End Page


  • 145

Issue


  • 141

Place Of Publication


  • St Lucia, Queensland, Australia