|Cinema of South Korea|
|No. of screens||2,492 (2015)|
|• Per capita||5.3 per 100,000 (2015)|
|Main distributors||CJ E&M (21%)|
|Produced feature films (2015)|
|Number of admissions (2015)|
|National films||113,430,600 (52%)|
|Gross box office (2015)|
|National films||₩830 billion (52%)|
|Part of a series on the|
|Arts and literature|
The cinema of South Korea refers to the film industry of South Korea from 1945 to present. South Korean films have been heavily influenced by such events and forces as the Japanese occupation of Korea, the Korean War, government censorship, the business sector, globalization, and the democratization of South Korea.
The golden age of South Korean cinema in the mid-20th century produced what are considered two of the best South Korean films of all time, The Housemaid (1960) and Obaltan (1961), while the industry's revival with the Korean New Wave from the late 1990s to the present produced both of the country's highest-grossing films, The Admiral: Roaring Currents (2014) and Extreme Job (2019), as well as prize winners on the festival circuit including Golden Lion recipient Pietà (2012) and Palme d'Or recipient and Academy Award winner Parasite (2019) and international cult classics including Oldboy (2003), Snowpiercer (2013), and Train to Busan (2016).
With the increasing global success and globalization of the Korean film industry, the past two decades have seen Korean actors like Lee Byung-hun and Bae Doona star in American films, Korean auteurs such as Park Chan-wook and Bong Joon-ho direct English-language works, Korean American actors crossover to star in Korean films as with Steven Yeun and Ma Dong-seok, and Korean films be remade in the United States, China, and other markets. The Busan International Film Festival has also grown to become Asia's largest and most important film festival.
American film studios have also set up local subsidiaries like Warner Bros. Korea and 20th Century Fox Korea to finance Korean films like The Age of Shadows (2016) and The Wailing (2016), putting them in direct competition with Korea's Big Four vertically-integrated domestic film production and distribution companies: Lotte Cultureworks (formerly Lotte Entertainment), CJ Entertainment, Next Entertainment World (NEW), and Showbox. Netflix has also entered Korea as a film producer and distributor as part of both its international growth strategy in search of new markets and its drive to find new content for consumers in the U.S. market amid the "streaming wars" with Disney, which has a Korean subsidiary, and other competitors.
With the surrender of Japan in 1945 and the subsequent liberation of Korea, freedom became the predominant theme in South Korean cinema in the late 1940s and early 1950s. One of the most significant films from this era is director Choi In-gyu's Viva Freedom! (1946), which is notable for depicting the Korean independence movement. The film was a major commercial success because it tapped into the public's excitement about the country's recent liberation.
However, during the Korean War, the South Korean film industry stagnated, and only 14 films were produced from 1950 to 1953. All of the films from that era have since been lost. Following the Korean War armistice in 1953, South Korean president Syngman Rhee attempted to rejuvenate the film industry by exempting it from taxation. Additionally foreign aid arrived in the country after the war that provided South Korean filmmakers with equipment and technology to begin producing more films.
Though filmmakers were still subject to government censorship, South Korea experienced a golden age of cinema, mostly consisting of melodramas, starting in the mid-1950s. The number of films made in South Korea increased from only 15 in 1954 to 111 in 1959.
One of the most popular films of the era, director Lee Kyu-hwan's now lost remake of Chunhyang-jeon (1955), drew 10 percent of Seoul's population to movie theaters However, while Chunhyang-jeon re-told a traditional Korean story, another popular film of the era, Han Hyung-mo's Madame Freedom (1956), told a modern story about female sexuality and Western values.
South Korean filmmakers enjoyed a brief freedom from censorship in the early 1960s, between the administrations of Syngman Rhee and Park Chung-hee. Kim Ki-young's The Housemaid (1960) and Yu Hyun-mok's Obaltan (1960), now considered among the best South Korean films ever made, were produced during this time. Kang Dae-jin's The Coachman (1961) became the first South Korean film to win an award at an international film festival when it took home the Silver Bear Jury Prize at the 1961 Berlin International Film Festival.
When Park Chung-hee became acting president in 1962, government control over the film industry increased substantially. Under the Motion Picture Law of 1962, a series of increasingly restrictive measures was enacted that limited imported films under a quota system. The new regulations also reduced the number of domestic film-production companies from 71 to 16 within a year. Government censorship targeted obscenity, communism, and unpatriotic themes in films. Nonetheless, the Motion Picture Law's limit on imported films resulted in a boom of domestic films. South Korean filmmakers had to work quickly to meet public demand, and many films were shot in only a few weeks. During the 1960s, the most popular South Korean filmmakers released six to eight films per year. Notably, director Kim Soo-yong released ten films in 1967, including Mist, which is considered to be his greatest work.
In 1967, South Korea's first animated feature film, Hong Kil-dong, was released. A handful of animated films followed including Golden Iron Man (1968), South Korea's first science-fiction animated film.
Government control of South Korea's film industry reached its height during the 1970s under President Park Chung-hee's authoritarian "Yusin System." The Korean Motion Picture Promotion Corporation was created in 1973, ostensibly to support and promote the South Korean film industry, but its primary purpose was to control the film industry and promote "politically correct" support for censorship and government ideals. According to the 1981 International Film Guide, "No country has a stricter code of film censorship than South Korea – with the possible exception of the North Koreans and some other Communist bloc countries."
Only filmmakers who had previously produced "ideologically sound" films and who were considered to be loyal to the government were allowed to release new films. Members of the film industry who tried to bypass censorship laws were blacklisted and sometimes imprisoned. One such blacklisted filmmaker, the prolific director Shin Sang-ok, was kidnapped by the North Korean government in 1978 after the South Korean government revoked his film-making license in 1975.
The propaganda-laden movies (or "policy films") produced in the 1970s were unpopular with audiences who had become accustomed to seeing real-life social issues onscreen during the 1950s and 1960s. In addition to government interference, South Korean filmmakers began losing their audience to television, and movie-theater attendance dropped by over 60 percent from 1969 to 1979.
Films that were popular among audiences during this era include Yeong-ja's Heydays (1975) and Winter Woman (1977), both box office hits directed by Kim Ho-sun. Yeong-ja's Heydays and Winter Women are classified as "hostess films," which are movies about prostitutes and bargirls. Despite their overt sexual content, the government allowed the films to be released, and the genre was extremely popular during the 1970s and 1980s.
In the 1980s, the South Korean government began to relax its censorship and control of the film industry. The Motion Picture Law of 1984 allowed independent filmmakers to begin producing films, and the 1986 revision of the law allowed more films to be imported into South Korea.
Meanwhile, South Korean films began reaching international audiences for the first time in a significant way. Director Im Kwon-taek's Mandala (1981) won the Grand Prix at the 1981 Hawaii Film Festival, and he soon became the first Korean director in years to have his films screened at European film festivals. His film Gilsoddeum (1986) was shown at the 36th Berlin International Film Festival, and actress Kang Soo-yeon won Best Actress at the 1987 Venice International Film Festival for her role in Im's film, The Surrogate Woman.
In 1988, the South Korean government lifted all restrictions on foreign films, and American film companies began to set up offices in South Korea. In order for domestic films to compete, the government once again enforced a screen quota that required movie theaters to show domestic films for at least 146 days per year. However, despite the quota, the market share of domestic films was only 16 percent by 1993.
The South Korean film industry was once again changed in 1992 with Kim Ui-seok's hit film Marriage Story, released by Samsung. It was the first South Korean movie to be released by business conglomerate known as a chaebol, and it paved the way for other chaebols to enter the film industry, using an integrated system of financing, producing, and distributing films.
As a result of the 1997 Asian financial crisis, many chaebols began to scale back their involvement in the film industry. However, they had already laid the groundwork for a renaissance in South Korean film-making by supporting young directors and introducing good business practices into the industry. "New Korean Cinema," including glossy blockbusters and creative genre films, began to emerge in the late 1990s and 2000s.
South Korean cinema saw domestic box-office success exceeding that of Hollywood films in the late 1990s largely due to screen quota laws that limited the public showing foreign films. First enacted in 1967, South Korea's screen quota placed restrictions on the number of days per year that foreign films could be shown at any given theater—garnering criticism from film distributors outside South Korea as unfair. As a prerequisite for negotiations with the United States for a free-trade agreement, the Korean government cut its annual screen quota for domestic films from 146 days to 73 (allowing more foreign films to enter the market). In February 2006, South Korean movie workers responded to the reduction by staging mass rallies in protest. According to Kim Hyun, "South Korea's movie industry, like that of most countries, is grossly overshadowed by Hollywood. The nation exported US$2 million-worth of movies to the United States last year and imported $35.9 million-worth".
One of the first blockbusters was Kang Je-gyu's Shiri (1999), a film about a North Korean spy in Seoul. It was the first film in South Korean history to sell more than two million tickets in Seoul alone. Shiri was followed by other blockbusters including Park Chan-wook's Joint Security Area (2000), Kwak Jae-yong's My Sassy Girl (2001), Kwak Kyung-taek's Friend (2001), Kang Woo-suk's Silmido (2003), and Kang Je-gyu's Taegukgi (2004). In fact, both Silmido and Taegukgi were seen by 10 million people domestically—about one-quarter of South Korea's entire population.
South Korean films began attracting significant international attention in the 2000s, due in part to filmmaker Park Chan-wook, whose movie Oldboy (2003) won the Grand Prix at the 2004 Cannes Film Festival and was praised by American directors including Quentin Tarantino and Spike Lee, the latter of whom directed the remake Oldboy (2013).
Director Bong Joon-ho's The Host (2006) and later the English-language film Snowpiercer (2013), are among the highest-grossing films of all time in South Korea and were praised by foreign film critics. Yeon Sang-ho's Train to Busan (2016), also one of the highest-grossing films of all time in South Korea, became the second highest-grossing film in Hong Kong in 2016.
In 2019, Bong Joon-ho's Parasite became the first film from South Korea to win the prestigious Palme d'Or at the Cannes Film Festival. At the 92nd Academy Awards, Parasite became the first South Korean film to receive any sort of Academy Awards recognition, receiving six nominations. It won Best Picture, Best Director, Best International Feature Film and Best Original Screenplay, becoming the first film produced entirely by an Asian country to receive a nomination for the Academy Award for Best Picture since Crouching Tiger, Hidden Dragon, as well as the first film not in English ever to win the Oscar for Best Picture.
LGBTQ films and representations of LGBTQ characters in South Korean cinema can be seen since the beginning of South Korean cinema despite public perceptions of South Korea as being largely anti-LGBT. Defining "queer cinema" has been up for debate by critics of cinema because of the difficulties in defining "queer" in film contexts. The term "queer" has its roots in the English language and although its origins held negative connotations, reclamation of the term began in the 1980s in the U.S. and has come to encompass non-heteronormative sexualities even outside of the U.S. Thus, queer cinema in South Korea can be thought of as encompassing depictions of non-heteronormative sexualities. On this note, LGBTQ and queer have been used interchangeably by critics of South Korean cinema. While the characteristics that constitute a film as LGBTQ can be subjective due to defining the term "queer" as well as how explicit or implicit LGBTQ representation is in a film, there are a number of films that have been considered as such in Korean cinema.
According to Pil Ho Kim, Korean queer cinema can be categorized into three different categories regarding visibility and public reception. There is the Invisible Age (1945-1997), where films with queer themes have received limited attention as well as discrete representations due to societal pressures, the Camouflage Age (1998-2004) characterized by a more liberal political and social sphere that encouraged filmmakers to increase production of LGBTQ films and experiment more with their overt depictions but still remaining hesitant, and finally, the Blockbuster Age (2005–present) where LGBTQ themed films began to enter the mainstream following the push against censorship by independent films prior.
Though queer Korean cinema has mainly been represented through independent films and short films, there exists a push for the inclusion of LGBTQ representation in the cinema as well as a call for attention to these films. Turning points include the dismantling of the much stricter Korean Performing Arts Ethics Committee and the emergence of the Korean Council for Performing Arts Promotions and the "Seoul Queer Film and Video Festival" in 1998 after the original gay and lesbian film festival was shut down by Korean authorities. The Korea Queer Film Festival, part of the Korea Queer Culture Festival, has also pushed for visibility of queer Korean films.
LGBTQ films by openly LGBTQ identifying directors have historically been released independently, with a majority of them being short films. The films listed reflect such films and reveal how diverse the representations can be.
Main article: List of highest-grossing films in South Korea
The Korean Film Council has published box office data on South Korean films since 2004. As of March 2021, the top ten highest-grossing domestic films in South Korea since 2004 are as follows.
Main page: Category:South Korean film awards
South Korea's first film awards ceremonies were established in the 1950s, but have since been discontinued. The longest-running and most popular film awards ceremonies are the Grand Bell Awards, which were established in 1962, and the Blue Dragon Film Awards, which were established in 1963. Other awards ceremonies include the Baeksang Arts Awards, the Korean Association of Film Critics Awards, and the Busan Film Critics Awards.
Main article: List of film festivals in South Korea
Founded in 1996, the Busan International Film Festival is South Korea's major film festival and has grown to become one of the largest and most prestigious film events in Asia.
The first South Korean film to win an award at an international film festival was Kang Dae-jin's The Coachman (1961), which was awarded the Silver Bear Jury Prize at the 1961 Berlin International Film Festival. The tables below list South Korean films that have since won major international film festival prizes.
|2020||Best Picture||Parasite||Kwak Sin-ae, Bong Joon-ho|
|Best Director||Bong Joon-ho|
|Best Original Screenplay||Bong Joon-ho, Han Jin-won|
|Best International Feature Film||Bong Joon-ho|
|2021||Best Supporting Actress||Minari||Youn Yuh-jung|
|1961||Silver Bear Extraordinary Jury Prize||The Coachman||Kang Dae-jin|
|1962||Silver Bear Extraordinary Jury Prize||To the Last Day||Shin Sang-ok|
|1994||Alfred Bauer Prize||Hwa-Om-Kyung||Jang Sun-woo|
|2004||Silver Bear for Best Director||Samaritan Girl||Kim Ki-duk|
|2005||Honorary Golden Bear||—||Im Kwon-taek|
|2007||Alfred Bauer Prize||I'm a Cyborg, But That's OK||Park Chan-wook|
|2011||Golden Bear for Best Short Film||Night Fishing||Park Chan-wook, Park Chan-kyong|
|Silver Bear for Best Short Film||Broken Night||Yang Hyo-joo|
|2017||Silver Bear for Best Actress||On the Beach at Night Alone||Kim Min-hee|
|2020||Silver Bear for Best Director||The Woman Who Ran||Hong Sang-soo|
|2021||Silver Bear for Best Screenplay||Introduction||Hong Sang-soo|
|2002||Best Director||Chi-hwa-seon||Im Kwon-taek|
|2004||Grand Prix||Oldboy||Park Chan-wook|
|2007||Best Actress||Secret Sunshine||Jeon Do-yeon|
|2009||Prix du Jury||Thirst||Park Chan-wook|
|2010||Best Screenplay Award||Poetry||Lee Chang-dong|
|Prix Un Certain Regard||Hahaha||Hong Sang-soo|
|2013||Short Film Palme d'Or||Safe||Moon Byoung-gon|
|2019||Palme d'Or||Parasite||Bong Joon-ho|
|2022||Best Director||Decision to Leave||Park Chan-wook|
|1987||Best Actress||The Surrogate Woman||Kang Soo-yeon|
|2002||Silver Lion||Oasis||Lee Chang-dong|
|2019||Grolsch People's Choice Award 2nd Runner-Up||Parasite||Bong Joon-ho|
|2004||Freedom of Expression Award||Repatriation||Kim Dong-won|
|2013||World Cinema Grand Jury Prize: Dramatic||Jiseul||O Muel|
|2000||Silver Medallion||N/A||Im Kwon-taek|
|1987||FIPRESCI Prize||The Man with Three Coffins||Lee Jang-ho|
|1992||Grand Prix||White Badge||Chung Ji-young|
|1998||Gold Award||Spring in My Hometown||Lee Kwang-mo|
|1999||Special Jury Prize||Rainbow Trout||Park Jong-won|
|2000||Special Jury Prize||Virgin Stripped Bare by Her Bachelors||Hong Sang-soo|
|Asian Film Award - Special Mention|
|2001||Best Artistic Contribution Award||One Fine Spring Day||Hur Jin-ho|
|2003||Asian Film Award||Memories of Murder||Bong Joon-ho|
|Asian Film Award - Special Mention||Jealousy Is My Middle Name||Park Chan-ok|
|2004||Best Director||The President's Barber||Im Chan-sang|
|Asian Film Award||Possible Changes||Min Byeong-guk|
|Asian Film Award - Special Mention||Springtime||Ryu Jang-ha|
|2009||Asian Film Award||A Brand New Life||Ounie Lecomte|
|2012||Special Jury Prize||Juvenile Offender||Kang Yi-Kwan|
|Best Actor||Seo Young-Joo|
|2013||Audience Award||Red Family||Lee Ju-hyoung|
|1989||Golden Leopard||Why Has Bodhi-Dharma Left for the East?||Bae Yong-kyun|
|2013||Best Direction Award||Our Sunhi||Hong Sang-soo|
|2015||Golden Leopard||Right Now, Wrong Then|