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Cinema under National Reconstruction: State Censorship and South Korea's Cold War Film Culture
Cinema under National Reconstruction: State Censorship and South Korea's Cold War Film Culture in Bloomington, MN
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Size: Hardcover
Cinema under National Reconstruction
calls for a revisionist understanding of state film censorship during successive Cold War military regimes in South Korea (1961-1988). Drawing upon primary documents from the Korean Film Archive’s digitized database and framing South Korean film censorship from a transnational perspective, Hye Seung Chung makes the case that, while political oppression/repression existed inside and outside the film industry during this period, film censorship was not simply a tool for authoritarian dictatorship. Through such case studies as Yu Hyun-mok’s
The Stray Bullet
(1961), Ha Kil-jong’s
The March of the Fools
(1975), and Yi Chang-ho’s
Declaration of Fools
(1983), the author defines censorship as a dialogical process of cultural negotiations wherein the state, the film industry, and the public fight out a battle over the definitions and functions of national cinema. In the context of Cold War Korea, one cannot fully understand or construct film history without reassessing censorship as a productive feedback system where both state regulators and filmmakers played active roles in shaping the new narrative or sentiment of the nation on the big screen.
calls for a revisionist understanding of state film censorship during successive Cold War military regimes in South Korea (1961-1988). Drawing upon primary documents from the Korean Film Archive’s digitized database and framing South Korean film censorship from a transnational perspective, Hye Seung Chung makes the case that, while political oppression/repression existed inside and outside the film industry during this period, film censorship was not simply a tool for authoritarian dictatorship. Through such case studies as Yu Hyun-mok’s
The Stray Bullet
(1961), Ha Kil-jong’s
The March of the Fools
(1975), and Yi Chang-ho’s
Declaration of Fools
(1983), the author defines censorship as a dialogical process of cultural negotiations wherein the state, the film industry, and the public fight out a battle over the definitions and functions of national cinema. In the context of Cold War Korea, one cannot fully understand or construct film history without reassessing censorship as a productive feedback system where both state regulators and filmmakers played active roles in shaping the new narrative or sentiment of the nation on the big screen.
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