(1999.8) Teukjip junggan gyeolsan - hangukhyeong beulleokbeoseuteo: jejakja 5 in beulleokbeoseuteo japyeong(Special Topic, Mid-term Assessment - Korean-style Blockbusters: Self-evaluation of Five Blockbuster Producers),

An, Jae-seok, (2001) Cheongnyeon yeonghwa wundong-euroseoui yeongsang sidae-e daehan yeongu (A Study on Visual Age as a Youth Cinema Movement),

Baek, Won-dam, (2004) Dongasia-ui munhwa seontaek hallyu (East Asias Cultural Choice: The Korean Wave), Seoul: Pentagram

Cho, Hae-joang, (2005) Geullobeol jigak byeondong-ui jinghuro ingneun hallyu yeolpung (The Fad of the Korean Wave as a Symptom of Global Earthshaking Change), Hallyu-wa asia-ui daejung munhwa (Korean Wave and Popular Culture in Asia), Seoul: Yonsei University Press

Hayward, (1993) French National Cinema, Routledge

Hong, (1994) A Study on the Influence of New Strategies of the Cinema Industry on the Movie Text in the Second Half of the 1980s, Seoul National University

Im, Hye-won, (1997) Daegieop-ui yeonghwa jejak sarye yeongu: Jeongle seutori-ui jejak gwajeong-eul jungsimeuro (A Case Study of Jaebeols Movie Production: Jungle Story),

Iwabuchi, Koichi, (2004) Asia-reul itneun daejung munhwa (Rogue Flows: Trans-Asian Cultural Traffic), Seoul: do hanawi munhwa, 또하나의 문화

Jameson, (1990) The Signature of the Visible, Routledge

Jang, Soo Hyun, (2004) Jungguk-eun wae hallyu-reul suyonghana: hallyu-ui junggukjeok todae-e daehan dahangmunjeok jeopgeun (Why Does China Accept the Korean Wave?: A Multidisciplinary Approach to the Chinese Basis of the Korean Wave), Seoul: Hakgobang

Jeong, Sang-cheol, (2001) Hanguk daejung munhwa-ui haewoe jinchul bangan-eul wihan jiwon bangan yeongu: hallyu-ui jisokhwa bangan-eul jungsimeuro (A Study on How to Support the Overseas Expansion of Korean Popular Culture: How to Prolong the Korean Wave), Seoul: Korea Culture Policy Institute

Jo, Jun-hyeong, (2001) Hanguk yeonghwa saneop mit jeongchaek-e daehan yeongu: segyehwa-e daehan daeung gwajeong-eul jungsimeuro (A Study on Korean Cinema Industry and Policy: A Response to Globalization),

Jowett, (1980) Movies as Mass Communication,

Kang, Nae-hee, (2000) Sinjayujuui-wa munhwa: nodong sahoe-eseo munhwa sahoero (Neo-liberalism and Culture: From Labor Society to Culture Society), Seoul: Munhwa gwahaksa

Kim, (1989) A Study on the Direction for the Development of Korean Movie Policy, Hanyang University

Kim, Keong-Il, (2003) Hanguk-ui geundae-wa geundaeseong (Modern Korea and Its Modernity), Seoul: Baeksan seodang

Kim, Kyung Hyun, (1998) The New Korean Cinema: Framing the Shifting Boundaries of History, Class and Gender,

Korea Culture Policy Institute, (1998) Yeonghwa yutong baegeup gujo-ui hyeonhwang-gwa gaeseon banghyang yeongu (A Study on the Current Status and Improvement of the Cinema Circulation and Distribution System), Seoul: Korea

Korean Film Council, (2002) Hanguk yeonghwa saneup gujo bunseok: Hollywood yeonghwa jikbae ihu-reul jungsimeuro(Analysis of the Structure of Korean Movie Industry: After the Direct Distribution of Hollywood Cinemas), Seoul: Korean Film Council

Korean Film Council, (2005) Hanguk yeonghwa yeon-gam 2005 (Korean Cinema Yearbook 2005), Seoul: Korean Film Council

Kwak, Hanju, (2003) Discourse of Modernization in 1990s Korean Cinema In Cinemas and Popular Media, Transcultural East Asia, Philadelphia: Temple University Press

Kwon, Mi-jeong, (1995) 90 nyeondae hanguk yeonghwa-ui jejak bangsik yeongu: jabon-gwa illyeok-ui byeonhwa, geu yeonghyang-eul jungsimeuro (A Study on the Production System of Korean Movies in the 1990s: Change in Capital and Manpower and Its Impacts), Dongguk University

Lee, Choong-Jik, (2001) Hanguk yeonghwa sangyeonggwan-ui byeoncheon-gwa baljeon bangan (Change and the Direction for the Development of Korean Movie Theaters), Seoul: Ministry of Culture and Tourism

Ministry of Culture and Tourism, (2001) Hanguk yeonghwa sangyeonggwan-ui byeoncheon-gwa baljeon bangan (Change and the Direction for the Development of Korean Movie Theaters), Seoul: Ministry of Culture and Tourism

Moon, Jae-cheol, (2002) Yeonghwajeok gieok-gwa munhwajeok jeongcheseong-e gwanhan yeongu: Post-Korean New Wave-reul jungsimeuro (A Study on Cinematic Memory and Cultural Identity: The Case of the Post-Korean New Wave),

Samsung Economic Research Institute, (2002) Hanguk yeonghwa saneop-ui seonsunhwan gujo-wa baljeon jeollyak (The Good Cycle Structure and Growth Strategies of Korean Film Industry), Seoul: Samsung Economic Research Institute

Seoul Visual Collective,ed, (1983) Saeroun yeonghwa-reul wihayeo(For New Cinema, Hakmin gulbat

Paul, (1994) Essays in Cultural Studies and Film Theory, Indiana University Press Bloomington and IndianapolisBFI Publishing Indiana University Press

Yi,Hyo-In, (1994) Uri yeonghwa-ui mongsang-gwa oman(Illusion and Arrogance of Korean Cinema, Mingeul

&fnote; Gim Dong-ho, (1989) A Study on the Direction for the Development of Korean Movie Industry Masters Thesis submitted to the Graduate School of Public Administration, Hanyang University

YiLee Choong-jik, (2001) Hanguk younghwa sangyounggwanwi byeoncheongwa baljeon bangan (Change and the Direction for the Development of Korean Movie Theaters), Seoul: Ministry of Culture and Tourism

Despite its failure, (2001) the Visual Age movement may be regarded as the first cinema movement in Korea, in the sense that it was the first serious attempt to produce new films in terms of theory and production volume,

in particular, (1983) Jang Sun-woo dabbled in theoretical criticism in the article Yeolyeojin younghwarul wihayeo, Seoul Visual Collective published a film theory book and For Open Cinema For New Cinema

(2001) The people cinema movement of the Third World began with great emphasis on its role as a cultural movement for the struggle to liberate both the nation and the people and for the establishment of independent national and grassroots culture, Seoul Visual Collective, Younghwa woondongnon

Yi Hyo-in, (1994) Illusion and Arrogance of Korean Cinema,

Kyung Hyun Kim, (1998) The New Korean Cinema: Framing the Shifting Boundaries of History, Class and Gender, Ph.D. Dissertation submitted to the Graduate School of University of South California,

The success of Korean cinema during the 1960s should be understood as due to the protection wall under the import regulation system rather than as a victory in the battle with the cultural industry represented by Hollywood it can be reasonably said that it was from the New Korean Cinema that Korean films began to achieve some success in a period when competition between universality and particularity occurred at a full scale around the world The success of Korean cinemas during the 1960s should be conceived due to the protection wall under the import regulation system rather than a,

Moon, Jae-cheol, (2002) Younghwajeok gieokgwa munhwajeok jeongcheseunge gwanhan yeongu: Post-Korean New Wave rul joongsimeuro (A Study on Cinematic Memory and Cultural Identity: The Case of the Post-Korean New Wave),

Kim Kyung Hyun, (1998) Im GKwon-taeks films are typical examples of this. His transformation from a typical commercial moviemaker from Chungmuro to an authorist director seeking artfuland artistic quality in his films must have been based on his personal awakening and motivation ( resolution to change his style.resolution?). However, it might be somewhat related to the fact that he received awards at international film festivals and thereby, came to be certified as an auteur that he continued to produce not-so-commercial films amidst the intense competition that prevailed from since 1985.K,

It does not mean that classical Hollywood prior to the New Hollywood prior to the New Chungmuro share a similar structure or status In a comparison like this one the focus is on the production system and stability of the industrial structure From the 1970s to the early 1980s Korean cinema had a low recognition and the production system of Chungmuro was at the brink of extinction guaranteed under the legal system It does not mean that classical Hollywood prior to the New Hollywood prior to the Ne,

Moon Jae-cheol raises a question about the status of realism in Korean cinema He thinks that in Korean cinema realism does not have concrete objects of representation and instead unlike in Western cinema operates as a sort of complementary signifier that complements what is missing to be complete This notion of realism in Korean cinema can be applied to Korean blockbusters as wellMoon Jae-cheol raises a question on the status of realism in Korean cinema He thinks that in Korean cinema realism does not have concrete objects of representation and instead unlike in Western cinema,

See Korea Culture Policy Institute, (1998) Younghwa yotong baegeup gujowi hyeonhwanggwa gaeseon banghyang yeongu (A Study on the Current Status and Improvement of the Cinema Circulation and Distribution System),

Korean Film Council, (2001) Hanguk younghwa saneup gujo boonseok: Hollywood younghwa jikbae ihurul joongsimeuro (Analysis of the Structure of Korean Movie Industry: After the Direct Distribution of Hollywood Cinemas),

At first, The lifting of the limit on the number of prints had an enormous impact on the Korean film industry which will be discussed in detail later in this paper with the emergence of Korean distribution managers it exercised great influence on the birth and expansion of Korean blockbusters it operated as a mechanism of putting pressure on small movies regardless of the distributors nationalityThe lifting of the limit on the number of prints had an enormous impact on the Korean film industry,

Kwon Mi-jeong, (1995) 90 nyeondae hanguk younghwawi jejak bangsik yeongu: Jabongwa inryeokwi byeonhwa, gu younghyangul joongsimeuro (A Study on the Production System of Korean Movies in the 1990s: Change in Capital and Manpower and Its Impacts), Dongguk University

Hong, (1994) A Study on the Influence of New Strategies of the Cinema Industry on the Movie Text in the Second Half of the 1980s Masters Thesis submitted to the Department of Communication, Seoul National University

Jowett, (1980) Publicize the aspects of a cinema that have news value; exploit them purposefully to draw media attention; and sell and distribute various products utilizing the movie contents and characters Publicize the aspects of a cinema that have news value; exploit them purposefully to draw media attention; and sell and distribute various products utilizing the movie contents and characters Movies as Mass Communication,

(2003) From this viewpoint, the queer trajectory of director Jang Sun-woo, a leader of the New Korean Cinema, can be understood more easily,

GKang Nae-hee, (2000) Sinjayujuwiwa munhwa: Nodong sahoieseo munhwasahoiro (Neo-liberalism and Culture: From Labor Society to Culture Society), Seoul: Munhwa gwahaksa

In other words, The nature of capital itself does not define that of cinema directly This is because capital demands to generate more capital not a specific form or content Films with anti-capital components can be made with big business capital as long as they can bring lots of revenue Due to the contradictory relations between capital and cinema The nature of capital itself does not define that of cinema directly This is because capital demands the g, capital does not inspect cinema directly subversive cinemas are produced sometimes which contain components opposing dominant ideology

See Cine 21, (1999.8) Paradoxically, this is the same as admitting that Korean-style blockbusters, just like Hollywood blockbusters, are not completely differentiated from low-budget movies,

Im Hye-won, (1997) Daegieupwi younghwa jejak sarye yeongu: Jungle storywi jejak gwajeongeul joongsimeuro (A Case Study of Chaebols Movie Production: Jungle Story), Masters Thesis submitted to the Department of Film Studies,

In this paper, Korean blockbusters are regarded as a variant of package cinemapackaged cinemas So the transition from package cinemapackaged cinemas to blockbusters does not mean its disappearance but an evolution to a different genre Korean blockbusters are regarded as a variant of packaged cinema So the transition from packaged cinema to blockbusters does not mean its disappearance but an evolution to a different genre,

Jo, Joon-hyeong, (2001) Hangguk younghwa saneop mit jeongchaeke daehan yoengu: segyehwae daehan daeeung gwajeongeul joongsimeuro (A Study on Korean Cinema Industry and Policy: A Response to Globalization), ,

On the other hand, the market share of American film decreased gradually 3% in 1998 3% in 1999 4% in 2000 4% in 2001 4% in 2002 5% in 2003 2% in 2004,

한국영화연감, www.kofic.or.kr,

Ministry of Culture and Tourism, Hanguk younghwa sangyounggwanwi byeoncheongwa baljeonbangan, (2001) Thirteen investment cooperatives [firms] were established until 2004, with a total investment of 115 billion won, including Muhan Investment, Mirae Asset Group, Dream Venture Capital, Cowell Venture Capital, Tube Investment, SoBig Venture, MVP Capital, Ilshin Investment Capital, Venture Plus, KMA Venture Capital and Samsung Venture Investment., Ministry of Culture and Tourism

Samsung Economic Research Institute, (2002) Hanguk younghwa saneupwi seonsoonhwan gujowa baljeon jeonryak (The Good Cycle Structure and Development Strategies of Korean Film Industry),

The discourse on Jurassic Park under the Kim Young Sam administration that a single movie generated more revenue than what was earned by selling hundreds of thousands of Hyundai cars gave people a clear idea about the importance of cinema as a culture industry The discourse on Jurassic Park under the Kim Young-s Sam administration that a single movie generated more revenue than what was earned by selling hundreds of thousands of Hyundai cars gave people a clear idea about the importance of cinema as a culture industry,

The facts that some blockbusters like Silmido and Tae Guk Gi had over 10 million viewers that more than 80 percent of viewers select Korean movies and that Hollywood movies are hard to find in Korean theaters do not mean that Korean cinema and cinema industry have overcome Hollywood and have an independent ground Behind some dazzling successes of several blockbusters exists a very weak cinema industry whose balance sheet is in the red in the overall sense The facts that some blockbusters like Silmido and Tae Guk Gi had over 10 million viewers that more than 80 percent of viewers select K,

Susan Hayward, (1993) National cinema is a very complex concept and is used with different meanings in different contexts In the theories that appeared after the 1980s it is generally conceptualized as national cinemas Susan Hayward distinguishes cinema of the center and cinema of the periphery But it is generally understood as cinemas produced in response or resistance against the external force In the case of Korean national cinema, not national cinema National cinemas are differentiated diversely French National Cinema

Korean Film Council, (2006) Hanguk younghwa yeongam 2005 (Korean Cinema Yearbook 2005), Seoul: Korean Film Council

Revenue from the Export of Korean Films,

Jo Han Hye-jeong, (2005) Global jigak byeondongwi jinghuro ingneun hanryu yeolpoong (The Hot Korean Wave as a Symptom of Global Earthshaking Change), Hanryuwa asiawi daejoong munhwa (Hanryu and Popular Culture in Asia), Seoul: Yonsei University Press

Jang Su-hyeon, (2004) It is difficult to pinpoint precisely when hanryu began to blow, but it came to have a clear reality as Chinese newspapers started reporting the phenomenon in 1999,

Summer, The most successful Korean film in North America until now is Kim Gi-duks Spring which had a fiasco in Korea and other parts of Asia As shown in this case export of Korean films is concentrated in package cinemapackaged cinemas and blockbusters rather than auteurist cinemas The most successful Korean film in North America until now is Kim Gi-duks Spring which was a bomb in Korea and other parts of Asia As shown in this case the export of Korean films is concentrated in packaged,

Bak, Won-dam, (2004) Dongasiawi munhwa seontaek hanryu (East Asias Cultural Choice: The Korean Wave), Seoul: Pentagram

Iwabuchi Koichi, (2004) Rogue Flows: Trans-Asian Cultural Traffic , Seoul: Doseo chulpan to hanawi munhwa

Paul Willemen, (1994) Essays in Cultural Studies and Film Theory, BFI Publishing