Abstract

This paper examines the 198090s revolution of the Korean independent film is embedded in the movement from the film to the film Contact. respond to the possibility that the connection the films is continuous solidarity of the 1980s. Chang, Yun-Hyun’s idea of reading the possibility of the 1980s in PC communication was combined with Myung-Film’s planning. This made the film Contact. By delaying the encounter between the lovers, bravely broke the traditional narrative. , it showed the first production model by paying a fair fee for film music. It also posed the aesthetics of Asian film upfront instead of the spectacles Hollywood films, provocatively attempting to redistribute aesthetic of Asian . In the process of the Korea filmin other words, in the process of South Korean movies becoming independent from capital and powerand the aesthetics, were forced to re-encounter the wandering ghosts of others. efining the ghosts and illuminating the new relationship with reveal the particularities of Korean. ’, which a new connection with the other was obviously an important force in the growth of independent film. The capital provided the audience director from the independent film scene. However, capital specter entangled oppression of the past and aspirations the future. In the sense that, and above all because it on the border free from responsibility, it close to the specter-others. The basis of possibility Contact 1990s independent film be found in two opposite vectors. One is new relation with capital, the other is representation of new social movement. these two factors have been commonly cited as proof that cultural movement and new social movement liberalized since 1990s. However the planning process in Contact was different. Shim, Jae-Myung and Shim, Bo-Kyung also mediated the rationality of capital and refreshed the old agenda in 1980s. Through Contact, they tried to experiment the possibility of commercial film as a method of new social movement by inventing necessary for sustainable society.