|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910824173403321 |
|
|
Autore |
Park Young-a <1968-> |
|
|
Titolo |
Unexpected alliances : independent filmmakers, the state, and the film industry in post-authoritarian South Korea / / Young-a Park |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Stanford, California : , : Stanford University Press, , 2015 |
|
©2015 |
|
|
|
|
|
|
|
|
|
ISBN |
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (222 p.) |
|
|
|
|
|
|
Classificazione |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Independent films - Political aspects - Korea (South) |
Independent filmmakers - Korea (South) |
Motion picture industry - Korea (South) |
Politics and culture - Korea (South) |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references, filmographies and index. |
|
|
|
|
|
|
Nota di contenuto |
|
Contents; Acknowledgments; Note to Readers; Acronyms; Introduction; Chapter 1. Film Activism: Cinema as Politics; Chapter 2. Independent Film: Cultural Production under Post authoritarian Conditions; Chapter 3. Beating Titanic: Independent Filmmakers at the Helm of Cultural Nationalism; Chapter 4. Transforming Activist Culture: Women Filmmakers and New Filmic Spaces; Chapter 5. Film Festival Fever: The Circulation of Independent Films; Epilogue: New Cultural Spaces, New Sensibilities; Notes; Bibliography; Selected Filmography; Index |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
Since 1999, South Korean films have dominated roughly 40 to 60 percent of the Korean domestic box-office, matching or even surpassing Hollywood films in popularity. Why is this, and how did it come about? In Unexpected Alliances, Young-a Park seeks to answer these questions by exploring the cultural and institutional roots of the Korean film industry's phenomenal success in the context of Korea's political transition in the late 1990's and early 2000's. The book investigates the unprecedented interplay between independent filmmakers, the state, and the mainstream film industry under |
|
|
|
|
|
|
|