The history of Korean cinema can be traced back to the end of 19, and the earliest cinema in Korea was built in 1903. Although many excellent silent films were produced in the1968+0920s and1968+0930s, the directors of Korean films were strictly censored by the Japanese authorities during the Japanese imperialist occupation before the recovery.
After the retrocession, the opening-up and review are still repeated. From 1950 s to 1970 s, politics and society were relatively open at that time, so quite a few good films were made, including several of the best in history. However, after the implementation of the reform constitution in 1973, political and social control was strengthened, and then the film industry in South Korea also fell into the worst stagnation period. 1980s, censorship gradually eased, and the level of Korean films also improved. Unfortunately, this period was the opening period of Hollywood films and Hong Kong films, and as a result, the market share of Korean films dropped sharply.
In the1990s, Korean films ushered in a new Renaissance era. Although the domestic film quota system has played a role in protecting the film industry to a certain extent, it is mainly aimed at cultivating outstanding film talents such as Park Chan-wook, Feng Junhao and Jin Jide. Korean films have also begun to gain recognition at international film festivals. For example, in 2004, The Old Man directed by Park Chan-wook won the jury prize of Cannes Film Festival. The whole world is paying attention to Korean movies, and even the Hollywood film industry is scrambling to buy the copyright of remake Korean movies.
Many Korean films have attracted worldwide attention. 1993 The outstanding films released so far are as follows:
Western-style system (1993): Western-style system is a work directed by master Lin Quanze. Up to now, it is one of the most praised films by film critics at home and abroad. The film tells the story of the family journey of the rapper in Bansori, which has aroused people's new attention to Korean traditional culture.
The Power of gangwon (1998): The Power of gangwon is a work directed by Hong Shangxiu, and it is the second one that has been well received. It tells the life story of the protagonist with the sequela of love failure, and the most conspicuous thing is to describe the simple relationship between them in a documentary way.
Life-and-death spy (1999): Life-and-death spy tells the story of suppressing members of the Korean special forces who sneaked into South Korea. Spy for Life and Death (directed by Jiang Digui, the film in the American market is called Swiri) is the first Korean action blockbuster. Judging from the release time, the production cost of Mission Impossible is very huge.
Girl's Heart Sutra (2000): Director Hong Shangxiu, like gangwon, once again showed the skill of frank description, and used the same way to describe interpersonal relationships in this funny film. In 2004, the Heart Sutra of Our Lady was shown in the "A Unit of Concern" of Cannes Film Festival, which depicted the proper relationship between the producer and the gallery owner. This film is the first work of actress Li Chengming.
Analysis of the Present Situation of Korean Film Industry —— Speech Notes of Mr. Li Yongguan, Permanent Chairman of Busan International Film Festival
On the afternoon of May 22nd, Mr. Li Yongguan, the permanent chairman of Busan International Film Festival, had a friendly exchange with the teachers of film and television department and the students of 2004 in the east corner of our college on the content of "Crisis diagnosis and countermeasures of Korean film industry".
Mr. Li Yongguan is the permanent chairman and one of the sponsors of Busan International Film Festival. He is also a professor in the Film Department of Art College of Central University of Korea, a famous Korean film critic, and a director of the Korean Film Critics Association. He won the Seoul Cultural and Art Critics Award, and has a very in-depth study on the industrial policy, current situation and film form of Korean films. The main content of this lecture is related issues.
Starting with the rapid development of Korean films in recent years, Mr. Li Yongguan explained the present situation and hidden crisis of Korean film industry with detailed facts and data, and finally put forward the main countermeasures. He first analyzed the current situation of Korean film industry in recent years. From the comparison of the number of films released, the number of audiences and the number of local box offices, we can see a growing trend. However, Mr. Li made a further explanation and analysis on the return on investment, export quantity and production funds, which made the students have a further understanding of the crisis of the Korean film industry. Then Mr. Li mentioned that it is very necessary to improve the structure of the film industry in different circulation stages to form a reinvestment structure, and then talked about the structure of the Korean film industry. Teacher Li Yongguan explained in detail the research of "separation of production capital and theater capital" and "quota system of cultural films (art independent films)", which made students have a deeper understanding of structural problems.
Later, Mr. Li Yongguan suggested that since the crisis of Korean film industry was discovered, there was an opportunity to find out the corresponding countermeasures to resolve the crisis before it worsened, that is, "crisis is opportunity". He put forward effective countermeasures from three aspects: first, to create a safe production environment for Korean films by improving the investment environment and increasing the return on investment; The second is to guide the rationalization of the film industry structure from investment-production-distribution-release stages; The third is to further develop additional markets to expand the scale of the film market and prepare for a sustainable growth foundation. Teacher Li also explained these three suggestions in detail, making it easier for students to understand the impact of the three countermeasures on the Korean film industry.
At the end of the lecture, many teachers and students raised many questions about the plan of Busan international film for young creators and the release and broadcast of China films and TV series in South Korea. Teacher Li gave a detailed introduction and answer.
This lecture on Korean film industry has enabled students to gain a lot of knowledge about Korean film industry and have a deeper understanding of Korean film industry. Throughout the lecture, the students were very serious and active, showing their concern for the Korean film industry.
Finally, Mr. Li Yongguan said that the communication with his classmates was very pleasant. I hope all students can join the Busan International Film Festival and contribute to Asian films.
Why has the Korean film and television industry developed rapidly in recent years?
When Korean director Jiang Digui 1999 spent $3.5 million to write and direct The Bourne ultimatum, people in the industry were generally worried about him. During this period, the aftermath of the Asian financial crisis still exists. The Korean industrial giants who supported Korean films in those years, out of the need to concentrate on developing industrial advantages, have divested their subordinate film companies. The market and box office of Korean movies have also been occupied by a series of Hollywood blockbusters. However, Jiang Digui's movie finally earned more than $35 million in box office, video and export, which broke the highest box office record in Korea at that time and the box office hegemony maintained by Titanic, and was called a real local blockbuster by Koreans.
The success of "Mission of Life and Death" has raised Korean people's confidence in local blockbusters to a high point. In 2004, another film "Flying Tai Chi Flag" directed by Jiang Digui once again broke the record, earning $56 million at the box office.
In the past few years, Korean movies have made amazing growth, and "Korean Wave" has swept the world. Jenny Tseng, a professor at Beijing Film Academy, said in an interview that South Korea has now developed into a real film industry power.
Professor Jenny Tseng said that the Korean government has given economic and policy support to the development of the film industry. From early encouragement to large domestic non-film enterprises and groups, such as Hyundai and Samsung, to investment in small and medium-sized enterprises and encouragement to independent filmmakers, Korean filmmakers have many channels to obtain funds. When President Kim Dae-jung was in office, he abolished the film censorship law, which provided fertile ground for Korean films to blossom.
Korean films take a typical commercial route. Through repeated communication among investors, audiences, producers, distributors and cinemas, a number of films with high box office value have been produced.
"Korean films generally describe' typical characters and typical objects in a typical environment', without unnecessary impurities, with novel ideas and ingenious materials, and at the same time leave a lot of room for imagination." Zhang Wanyi, who works in the media, is a loyal supporter of Korean films.
Professor Jenny Tseng said that an obvious feature of Korean films at present is the large number of directors and rapid changes, which have injected new vitality into the film industry. The following institutional phenomenon is the "independent filmmaker system", and small and medium-sized film production companies have sprung up everywhere. An important supporting factor behind the prosperity of small and medium-sized companies is the diversification of financing channels.
Professor Ni said that after the Asian financial crisis, Korean film investment found many new ways. In particular, the people's ability to absorb funds has been greatly enhanced, and the enthusiasm of small and medium-sized enterprises and venture capital is high. Statistics show that about 60 films are put into production by about 30 local film production companies in Korea every year. In the early days, most of these producers obtained investment by selling distribution rights and copyrights. Then take the initiative to invest in some venture capital and large enterprises, or borrow money from banks and mortgage copyright financing. In recent two or three years, there have even been cases of raising social funds through the Internet. For example, the very successful film My Wife Is Big Brother raised $2.8 million through Internet financing. This bold and positive financing method greatly enlivens the production mechanism and promotes the national awareness of film participation.
At the same time, the Korean government has also set up a number of investment fund management institutions, such as the Korea Film Council (KOFIC), to provide systematic and professional guidance, management and services for venture capital funds of all sizes investing in films. These funds have created a solid material foundation for the development of Korean film industry. It is understood that at present, the total film investment funds from various channels exceed $6,543.8 +0.5 billion. Abundant funds enable Korean films to introduce advanced Hollywood production technology, and at the same time greatly promote the construction of Korean cinemas.
Now, there is a new trend in Korean film financing, that is, the most popular IPO-listing in the securities market. Jiang Digui's film production company recently went public on the Gostak market in Seoul to finance his next film.
In contrast, in terms of financing, China's film industry started a little late. Before 1995, only 16 state-owned film studios had the right to make films. Although the policy has been gradually opened in recent years, the film market is not standardized, the return on investment is low, and it is relatively difficult for producers to finance filming. The entry of social capital and private capital is obviously insufficient, and the financing method is relatively single.