Asian Body in Heavy Industiral Era

Hong Kong Cinema was imported to South Korea from 1967. Ever since King Hu’s Come Drink With Me attained an unexpected success in 1967, Hong Kong action films had achieved a continuous box office hit in Korean film market. In particular, these films targeted a certain stratum of urban lower-class males in the Korean film environment in the 1970s that was about to be divided into classes, genders, and generations. In the 1970s, the Korean film field encountered a rapid industrial recession and the government’s excessive regulation, thus relying itself on the combination with this stable product of Hong Kong action films. Camouflage Collaboration, which became problematic all the 1970s, was the consequence of the Korean film market’s demand. This paper examines the definition of national cinema or the situation that already exceeds the boundary of national cinema, focusing on the imported Hong Kong cinema, its camouflage collaboration, and Korean - or, already beyond this national boundary - formula films that were made in the world wide Bruce Lee boom from 1973. In the meantime, I determine that the characters’ trained corporeal representations in the films are associated with industrialization,particularly with heavy industry. That is, these Hong Kong martial arts films or their related formula films in the 1970s do not only reveal the unconsciousness of preferable body for heavy chemical industry, but also presents another unconscious crisis and resistance to physical limitation.

keywords: 액션영화, 홍콩영화, 위장합작, 중공업, 전지구적 자본주의, 내셔널 시네마, 이소룡, Hong Kong Cinema, classes, national cinema, industrialization, martial arts film, camouflage collaboration, body

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Article Contents

No.30

Asian Body in Heavy Industiral Era

Abstract

Reference

Feminism and Korean Literature