|
|
|
|
|
GOLDSEA |
ASIAMS.NET |
ASIAN AMERICAN ISSUES
Is Corean (Korean) Cinema the New HK Cinema?
t the peak of its Golden Era between the mid-80s and early-90s Hong Kong cinema was defending nearly half its domestic box office turf against Hollywood imports, thanks to an unusual concentration of mega-talents like John Woo, Chow Yun-Fat, Jackie Chan and Tsui Hark. No other film industry in the world had been able to claim that for a half century. What's more, some HK kung-fu and gangster flicks outdrew Hollywood thrillers in many international markets.
Corean heartthrob Won Bin
|
Hollywood's strategy for coping with the HK threat? Simple and devastatingly effective -- buy up the biggest box-office draws. The result has been an epic shift: the top HK talents have been reduced mostly to coolie-ing on Hollywood formulaics while HK cinema has become a parched gulch with bounding tumbleweeds and half-hinged screen doors banging forlornly with every hot gust.
Corean American Shiri star Kim Yoon-jin
|
But just as Asian Americans resigned themselves to having screen images hijacked by a remarkably Asian-unfriendly Hollywood, Corean cinema began throwing off heat. Beginning in the early 90s a hardy new generation of Corean filmmakers made themselves fixtures at the award ceremonies of Cannes, Venice and other international film festivals. By the turn of the century Corea's Pusan Film Festival emerged as Asia's premiere celluloid bazaar. But that was small potatoes, not enough to catch the notice of an industry whose real lifeblood is box office.
Then came Shiri (1999), Kang Jae-gyu's lovingly-wrought, haunting thriller about a deadly North Corean female terrorist who falls in love with exactly the wrong guy. It became the first domestic film in history to break the 2 million ticket mark for the Seoul metropolitan area (which accounts for about 25% of the Corean market), and went on to outgross Hollywood blockbusters like The Mummy, The Matrix, Titanic, Star Wars Episode One and Toy Story. Its $5 million budget is less than a tenth of what Hollywood spends at the drop of a dime but was considered a daring gamble. It paid off. Domestic box office receipts ultimately spiked past $60 million, ensuring an unexpected profit for the film's backer Samsung Entertainment -- and more importantly, whetting the appetites of investors for more "big-budget" projects.
Director Kang took pains to point out that Shiri's success was founded on a painstakingly crafted screenplay -- something few Corean directors had bothered with before then.
In 2000 and 2001 alone, two Corean films surpassed Shiri's box office benchmarks: Joint Security Area (DMZ military mystery/drama, 2000) and Friend (male-bonding, 2001). These blockbusters have stimulated a general upsurge of interest in domestic films. Films like Friend and My Sassy Girl (romantic comedy) outgrossed Hollywood megapics like Harry Potter and Lord of the Rings. They helped make Corea the only market in which domestic films captured over 50% of box office receipts, with Hollywood fare attracting 40%.
As the saga of Hong Kong cinema has shown, nothing yanks Hollywood's chain like being kicked at the box office. Major studios have begun importing Shiri, Musa (co-starring Zhang Zhiyi as a Ming princess rescued by Corean swordsmen) and other Corean films for limited U.S. theatrical release and video distribution. More significantly -- or ominously, depending on your perspective -- they have begun signing Corean talent. One is actress Shin Eun-kyung who starred in the popular comedy My Wife Is a Gangster (2001) which outgrossed Lord of the Rings. Shin will play the female lead opposite Andy Garcia. Miramax even paid $1.1 million for the remake rights to My Wife Is a Gangster.
Is Corean cinema the new Hong Kong cinema? Or will an Asian version of Hollywood ultimately emerge in Corea?
This interactive article is closed to new input.
Discussions posted during the past year remain available for browsing.
CONTACT US
|
ADVERTISING INFO
© 1996-2013 Asian Media Group Inc
No part of the contents of this site may be reproduced without prior written permission.
|
|
|
|
WHAT YOU SAY
[This page is closed to new input. --Ed.]
(Updated
Tuesday, Apr 1, 2008, 06:07:19 PM)
ka,
Really depends how you view bootlegs. Even Jackie Chan's popularity worldwide would not be possible without bootlegs. How in the world did people in Africa know about Jackie, bootleg of course.
But it is true the HK movie market is kind of out of control, when you can get a bootleg VCD before the film is even in the theater.
AC dropout
Saturday, March 30, 2002 at 09:53:29 (PST)
i dont know what ur talking about "ka"
but not lot of "canto-pop" is around korea, and no way in hell are chinese dramas, novels and movies popular in korea. These days the trend is hanryu
which vaguely means korean-fever from songs to dramas, movies , lifestyle, looks and clothes, everything korea is getting much of attention overseas in asia. although you may not be so familiar with korean movies since u seem to be so into jacky chan jet li crap but truth is these days k cinema actually looks promising
someone who knows
Friday, March 29, 2002 at 22:46:30 (PST)
Who the hell is Andy Lau? Chinese music, or Canto-Pop was NEVER popular in Korea. Bruce Lee(Yi SoRyong) was an icon, and Chow Yun Fat (known as Ju Yunbar) and Jackie Chan(Sung Ryong) were quite popular during the 80s, when HK movies were imported as "straight-to-video". Other than that no HK were celebrities in Korea.
kemamusa
Friday, March 29, 2002 at 18:37:13 (PST)
NEWEST COMMENTS |
EARLIER COMMENTS
|