Korean Cinema Now: Balancing Creativity and Commerce in an Emergent National Industry
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Introduction Some of the most exciting developments in both artistic and commercial terms during the first few years of the new millennium can be found in Korean cinema. (1) With two films in competition at the Cannes International Film Festival and with one of them, Old Boy, (directed by Park Chan-wook), winning the second prize, the Grand Prix du Jury, 2004 may prove to be Korea's breakout film year, but, it should have been 2002, when Im Kwon-taek's Chihwaseon won him the Best Director award at Cannes and Lee Chang-dong's Oasis won no fewer than three awards at Venice, including the Special Director's (Jury) Award and the FIPRESCI (critics') prize. Arguably, 2002 was Korea's greatest ever film year during which it is unlikely that any other country in the world produced a wider range of quality films. (2) [ILLUSTRATION OMITTED] Korean cinema had been virtually unknown in the west until 1986 when Gilsottum directed by Im Kwon-taek, was entered in competition at the Berlin film festival (and won a prize in Chicago), and when the Festival of Three Continents at Nantes, in France, staged a 13 film retrospective. following year, 1987, the year that democracy finally came to South Korea with presidential elections, the late David Overbey programmed an amazing retrospective of 37 contemporary East and Southeast Asian films, entitled Eastern Horizons for Toronto's Festival of Festivals. This program included 8 films from the Republic of Korea, 3 of which were directed by Im Kwon-taek, the most prominent Korean cineaste of the 1980s. At the 1988 Montreal World Film Festival, Adada (also directed by Im Kwon-taek) won the award for Best Actress. This festival has continued to show Korean films on a regular basis, mounting a 9 film national spotlight in 1998. (3) A big moment occurred in 1990, when the Pesaro film festival in Italy mounted a retrospective of Korean cinema, accompanied by a book, Il cinema sudcoreano, edited by Adriano Apra, and this was followed by an even bigger representation of Korean film history at the Centre Georges Pompidou in Paris, from October 1993 to February 1994. At this time no fewer than 85 films were screened and a significant book was published. (4) major Parisian retrospective possibly led to more attention being placed on Korean cinema in France than in other non-Asian countries, with Cahiers du Cinema and Positif regularly devoting articles to the subject and with Korean films regularly being distributed there. On the English language side, it should be noted that Tony Rayns almost single-handedly supplied the anglophone film reader with texts on Korean cinema through the 1990s, and he has become one of the world's greatest film programmers with his Dragons and Tigers Pacific Rim program at the Vancouver International Film Festival, which always showcases a number of new Korean films. Over the last few years, Darcy Paquet has done sterling work in promoting Korean cinema through the trade journal, Screen International and his English-language website, The Korean Film Page, , while a few other journalists, including Chuck Stephens and Derek Elley have joined the ranks of English-language, Korean film supporters. And, finally, a few books in English on Korean cinema are beginning to appear on the shelves, ranging from an academic study on masculinity in recent Korean cinema, to a fan's Guidebook for the Latest Korean New Wave. (5) Nevertheless, Korean cinema has still yet to find its well-deserved place on the map of World art cinema. One could argue that this is because there has never been a single breakthrough film like Akira Kurosawa's Rashomon, which inspired a wave of interest in Japanese cinema with its success at the Venice International Film Festival in 1950, and Chen Kaige's Yellow Earth, which sparked the discovery of China's Fifth Generation with its screening at the Hong Kong International Film Festival in 1985, followed by Zhang Yimou's Red Sorghum winning the Golden Bear top prize at the 1988 Berlin festival. …
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it