Women Breaking into the South Korean Film World: A Study of Female Filmmakers in the 1990s
In the 1990s, four women made their debut as film directors in South Korea. Considering that there were only five female directors from the beginning of Korean film history in 1919 until the 1980s, their debut was a remarkable phenomenon. This change was due to the structural innovation of the South...
Na minha lista:
| Publicado no: | URI:https://journals.openedition.org/map, |
|---|---|
| Autor principal: | |
| Formato: | Article ou chapitre numérique |
| Idioma: | Anglais |
| Publicado em: |
Mise au point
2024
|
| Assuntos: | |
| Acesso em linha: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
openedition-oai:revues.org:map_7154 |
|---|---|
| record_format |
openedition |
| spelling |
openedition-oai:revues.org:map_7154 https://doi.org/10.4000/12d72 urn:doi:10.4000/12d72 en https://journals.openedition.org/map/7154 2024-09-26T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/12d72 https://creativecommons.org/licenses/by-nc-nd/4.0/ Women Breaking into the South Korean Film World: A Study of Female Filmmakers in the 1990s 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 Korean cinema celluloid ceiling women filmmakers relational capital cinéma sud-coréen plafond celluloïd réalisatrices capital relationnel capital social In the 1990s, four women made their debut as film directors in South Korea. Considering that there were only five female directors from the beginning of Korean film history in 1919 until the 1980s, their debut was a remarkable phenomenon. This change was due to the structural innovation of the South Korean film field that began in the mid-1980s. With the collapse of the apprenticeship system, networks of cinephiles such as the Munhwawon sedae functioned as a new source of relational capital. In order to deepen our understanding of the emergence of the celluloid ceiling in South Korea, this study focuses on the experiences of three women filmmakers who made their first feature films in the 1990s: Yim Soon-rye, Lee Jeong-hyang, and Byun Young-Joo. Compared to male directors who had equivalent cultural and academic capital, and who entered the field during the same period, these women directors were unable to acquire sufficient relational capital to promote their careers as directors. It was the authorities of the field, such as film festivals and the media, that acknowledged them and established their reputations, allowing them to release their first films in the South Korean cinematic field. In other words, even in the new system, women remained excluded from the benefits of relational capital in the South Korean cinematic field, and they could only find their place as directors by demonstrating exceptional individual abilities. Dans les années 1990, quatre femmes ont fait leurs débuts en tant que réalisatrices en Corée du Sud. Étant donné qu’il n’y avait eu que cinq réalisatrices depuis le début de l’histoire du cinéma coréen, en 1919, jusqu’aux années 1980, leur apparition constitue un phénomène remarquable. Ce changement résulte de l’innovation structurelle du domaine cinématographique sud-coréen amorcée au milieu des années 1980. Avec l’effondrement du système maître-apprenti dans l’industrie du cinéma sud-coréen, les réseaux de cinéphiles tels que la Munhwawon sedae ont émergé comme une nouvelle source de capital relationnel. Afin d’approfondir notre compréhension de l’émergence du plafond celluloïd dans le champ cinématographique du pays, cette étude se concentre sur les expériences de trois réalisatrices ayant réalisé leur premier long métrage dans les années 1990 : Yim Soon-rye, Lee Jeong-hyang et Byun Young-Joo. En comparaison aux réalisateurs masculins disposant d’un capital culturel et académique équivalent, et ayant intégré le domaine à la même période, ces réalisatrices n’ont pas pu acquérir suffisamment de capital relationnel pour promouvoir leur carrière. Ce sont les autorités du champ, telles que les festivals de cinéma et les médias, qui les ont reconnues et qui ont établi leur réputation, leur permettant ainsi de sortir leurs premiers films. En d’autres termes, même dans le nouveau système, les femmes restaient exclues des avantages du capital relationnel dans le champ cinématographique sud-coréen, ne pouvant trouver leur place en tant que réalisatrices qu’en démontrant des capacités individuelles exceptionnelles. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
Korean cinema celluloid ceiling women filmmakers relational capital cinéma sud-coréen plafond celluloïd réalisatrices capital relationnel capital social |
| spellingShingle |
Korean cinema celluloid ceiling women filmmakers relational capital cinéma sud-coréen plafond celluloïd réalisatrices capital relationnel capital social Hong, Sora Women Breaking into the South Korean Film World: A Study of Female Filmmakers in the 1990s |
| description |
In the 1990s, four women made their debut as film directors in South Korea. Considering that there were only five female directors from the beginning of Korean film history in 1919 until the 1980s, their debut was a remarkable phenomenon. This change was due to the structural innovation of the South Korean film field that began in the mid-1980s. With the collapse of the apprenticeship system, networks of cinephiles such as the Munhwawon sedae functioned as a new source of relational capital. In order to deepen our understanding of the emergence of the celluloid ceiling in South Korea, this study focuses on the experiences of three women filmmakers who made their first feature films in the 1990s: Yim Soon-rye, Lee Jeong-hyang, and Byun Young-Joo. Compared to male directors who had equivalent cultural and academic capital, and who entered the field during the same period, these women directors were unable to acquire sufficient relational capital to promote their careers as directors. It was the authorities of the field, such as film festivals and the media, that acknowledged them and established their reputations, allowing them to release their first films in the South Korean cinematic field. In other words, even in the new system, women remained excluded from the benefits of relational capital in the South Korean cinematic field, and they could only find their place as directors by demonstrating exceptional individual abilities. |
| author |
Hong, Sora |
| author_facet |
Hong, Sora |
| author_sort |
Hong, Sora |
| title |
Women Breaking into the South Korean Film World: A Study of Female Filmmakers in the 1990s |
| title_short |
Women Breaking into the South Korean Film World: A Study of Female Filmmakers in the 1990s |
| title_full |
Women Breaking into the South Korean Film World: A Study of Female Filmmakers in the 1990s |
| title_fullStr |
Women Breaking into the South Korean Film World: A Study of Female Filmmakers in the 1990s |
| title_full_unstemmed |
Women Breaking into the South Korean Film World: A Study of Female Filmmakers in the 1990s |
| title_sort |
women breaking into the south korean film world: a study of female filmmakers in the 1990s |
| publisher |
Mise au point |
| publishDate |
2024 |
| container_title |
URI:https://journals.openedition.org/map |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/12d72 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/map/7154 |
| _version_ |
1877292304016867329 |