عرض للأخصائي: The Masterpieces of Yesterday, the Forgotten Today: The Short Life of the Korean New Wave

The Masterpieces of Yesterday, the Forgotten Today: The Short Life of the Korean New Wave

Korean New Wave refers to South Korean films from the 1980s and 1990s that focus on social issues and reimagine genre film. This category was formalized at the first Busan International Film Festival in 1996. As it gained recognition by society, South Korean cinema, long despised even by domestic au...

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الحاوية / القاعدة:	URI:https://journals.openedition.org/map,
المؤلف الرئيسي:	Hong, Sora
التنسيق:	Article ou chapitre numérique
اللغة:	Anglais
منشور في:	Mise au point 2022
الموضوعات:	Corée du Sud cinéphilies Korean New Wave auteur-réalisateur jakga South Korea cinephilias auteur
الوصول للمادة أونلاين:	Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM

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record_format	openedition
spelling	openedition-oai:revues.org:map_5878 https://doi.org/10.4000/map.5878 urn:doi:10.4000/map.5878 en https://journals.openedition.org/map/5878 2022-04-11T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/i3p5 https://creativecommons.org/licenses/by-nc-nd/4.0/ The Masterpieces of Yesterday, the Forgotten Today: The Short Life of the Korean New Wave Mise au point Association française des enseignants et chercheurs en cinéma et audiovisuel info:eu-repo/semantics/reference/issn/2261-9623 URI:https://journals.openedition.org/map Hong, Sora Corée du Sud cinéphilies Korean New Wave auteur-réalisateur jakga South Korea Korean New Wave cinephilias auteur jakga Korean New Wave refers to South Korean films from the 1980s and 1990s that focus on social issues and reimagine genre film. This category was formalized at the first Busan International Film Festival in 1996. As it gained recognition by society, South Korean cinema, long despised even by domestic audiences, rose to the level of art. However, this first South Korean New Wave was quickly forgotten, shortly after its formalization. In order to better understand this transformation, this research draws attention to the evolution of cinephilias in South Korea.The pursuit of “critical realism” and the search for cinema’s artistic value has underpinned the identity of the Korean New Wave. These central criteria for attaining the status of a new-wave masterpiece stem from the two ambitions of alternative cinema discourse: the aesthetic ambition to establish South Korea’s seventh art, and the political ambition to present itself as a counterweight to a political system deemed corrupt. This new wave is thus the result of the convergence of two opposing ambitions during the democratization movement of the 1980s. However, this did not put an end to the duel between these two ambitions. With the cultural legitimization of South Korean cinema in the 1990s, aesthetic ambition took over, putting an end to the precarious equilibrium upon which the Korean New Wave had been established. La Korean New Wave renvoie aux films sud-coréens des années 1980 et 1990 qui s’intéressent aux problèmes de société et qui montrent une nouvelle imagination en termes de genre. Elle est officialisée lors du premier Festival international du film de Busan en 1996. Avec sa reconnaissance dans la société, le cinéma sud-coréen qui a longtemps été méprisé même par des spectateurs locaux s’est hissé au rang d’art. Cependant, cette première nouvelle vague sud-coréenne est vite oubliée, peu de temps après son officialisation. Afin de mieux saisir cette transformation, cette recherche attire l’attention sur l’évolution des cinéphilies en Corée du Sud. La poursuite du « réalisme critique » et celle de la valeur artistique du cinéma fondent l’identité de la Korean New Wave. Ces principaux critères d’éligibilité des œuvres de la nouvelle vague proviennent de deux ambitions des discours sur le cinéma alternatif : l’ambition esthétique pour établir le 7e art sud-coréen et l’ambition politique pour se présenter comme étant un contrepoids à un système politique jugé corrompu. Cette nouvelle vague est donc le fruit de la convergence des deux ambitions qui s’opposaient durant le mouvement pour la démocratisation de la société des années 1980. Cependant, avec la légitimation culturelle du cinéma sud-coréen des années 1990, l’ambition esthétique a pris le pas et ce fait a rompu l’équilibre.
collection	OpenEdition Journal
language	Anglais
format	Article ou chapitre numérique
building	0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/
topic	Corée du Sud cinéphilies Korean New Wave auteur-réalisateur jakga South Korea Korean New Wave cinephilias auteur jakga
spellingShingle	Corée du Sud cinéphilies Korean New Wave auteur-réalisateur jakga South Korea Korean New Wave cinephilias auteur jakga Hong, Sora The Masterpieces of Yesterday, the Forgotten Today: The Short Life of the Korean New Wave
description	Korean New Wave refers to South Korean films from the 1980s and 1990s that focus on social issues and reimagine genre film. This category was formalized at the first Busan International Film Festival in 1996. As it gained recognition by society, South Korean cinema, long despised even by domestic audiences, rose to the level of art. However, this first South Korean New Wave was quickly forgotten, shortly after its formalization. In order to better understand this transformation, this research draws attention to the evolution of cinephilias in South Korea.The pursuit of “critical realism” and the search for cinema’s artistic value has underpinned the identity of the Korean New Wave. These central criteria for attaining the status of a new-wave masterpiece stem from the two ambitions of alternative cinema discourse: the aesthetic ambition to establish South Korea’s seventh art, and the political ambition to present itself as a counterweight to a political system deemed corrupt. This new wave is thus the result of the convergence of two opposing ambitions during the democratization movement of the 1980s. However, this did not put an end to the duel between these two ambitions. With the cultural legitimization of South Korean cinema in the 1990s, aesthetic ambition took over, putting an end to the precarious equilibrium upon which the Korean New Wave had been established.
author	Hong, Sora
author_facet	Hong, Sora
author_sort	Hong, Sora
title	The Masterpieces of Yesterday, the Forgotten Today: The Short Life of the Korean New Wave
title_short	The Masterpieces of Yesterday, the Forgotten Today: The Short Life of the Korean New Wave
title_full	The Masterpieces of Yesterday, the Forgotten Today: The Short Life of the Korean New Wave
title_fullStr	The Masterpieces of Yesterday, the Forgotten Today: The Short Life of the Korean New Wave
title_full_unstemmed	The Masterpieces of Yesterday, the Forgotten Today: The Short Life of the Korean New Wave
title_sort	masterpieces of yesterday, the forgotten today: the short life of the korean new wave
publisher	Mise au point
publishDate	2022
container_title	URI:https://journals.openedition.org/map
url	https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/map.5878 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/map/5878
_version_	1877293220162961408

The Masterpieces of Yesterday, the Forgotten Today: The Short Life of the Korean New Wave

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