Filmnation Südkorea. Der künstlerische und kommerzielle Erfolg (Anhänge)

Transcription

1 Ulf C. Lepelmeier Filmnation Südkorea. Der künstlerische und kommerzielle Erfolg des New Korean Cinema Münster: Nodus Publikationen (Film und Medien in der Diskussion. 22.). ISBN / ISSN ANHÄNGE 1. Interviewleitfaden Transkripte der Interviews Hong Sun-Myeon Choi Hong-Suk Ko Mori Nam Erica Kim Jina Lee Seung-Hee Kim Eugene Woo Luka Lee Samantha Jung Soojin Kim Woody Cleary Martin Paquet Darcy Thematisches Ordnen der Interviews Thematischer Vergleich und Konzeptualisierung IHS Screen Digest Datensätze Koreanische Filme in den offiziellen Wettbewerben der Filmfestivals von Berlin, Cannes und Venedig Die koreanische Filmindustrie im Vergleich zu anderen nationalen Filmindustrien Die Verteilung des Filmumsatzes auf die verschiedenen Absatzkanäle

2 ANHANG 1: INTERVIEWLEITFADEN 1) Introductory questions Self-Introduction of interviewee + his/her work + his/her attitude towards New Korean Cinema 소개질문 - 본인의직업과 NKC 에대한관점을설명하시오. a) What is your name and what is your profession? 당신의이름은무엇이고어떤일을하십니까? b) Please describe your company and its business orientation? How would you describe your field of activity. 당신의회사와사업방향을설명하십시오. 당신의업무에관해설명한다면? c) How many movies do you watch during a year approximately? 당신은 1 년에영화를몇편이나보십니까? d) What do you personally associate with the term New Korean Cinema? 개인적으로당신은 NKC 와무슨관련이있습니까? 2) Success factors of the Korean film industry + audience enthusiasm 한국영화산업의성공요인 + 관객의열광 a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? 한국영화산업의급격한발전뒤에있는성공요인은무엇이라고생각합니까? b) Please rate the importance of the following factors for the successful development of the Korean film industry: 한국영화산업의성공적인발전을위한요인들의중요도를매기시오. (1: not important... 5: very important) Oligopoly structure of the film industry (With CJ Entertainment, Showbox Mediaplex and Lotte entertainment hold consistently over 50% of the market [production+distribution]) 영화산업의모노폴리 (monopoly 독과점 ) 구조 (CJ 엔터테인먼트, 쇼박스, 롯데엔터테인먼트가국내영화시장의 50% 이상을지속적으로점유 ) ( ) 2

3 1. Interviewleitfaden State protective measures and government incentives (Screen quota system, national subsidies, tax reliefs) 국가보호적조치와정부인센티브 ( 스크린쿼터시스템, 국가보조금, 세금감면 ) ( ) Innovative financing models (Venture Capital Funds, Netizen Funds) 혁신적인재무모델들 ( 벤쳐캐피탈펀드, 네티즌펀드 ) ( ) Higher production standards 더높은제작표준 ( ) Hallyu phenomenon (for the Export Filmmarket) 한류 현상 ( 영화수출시장 ) ( ) New Korean Cinema as a trendy label/brand 트렌디브랜드 ( 유행을선도하는브랜드 ) 로서의 NKC ( ) New Korean Cinema as a cinema style between mainstream and arthouse cinema 주류영화와예술영화사이의영화스타일로서의 NKC ( ) New Korean Cinema as a reflection of the Korean society (reflecting of especial Korean themes / mentality) 한국사회를반영하는 NKC ( 특수한한국적테마 / 정신의반영 ) ( ) c) How do you explain the enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? (Koreans go in general about 3 times a year to the cinema, Germans only 1,2 times) Why do you think the ratio of domestic production in Korean cinema box office is so high (compared with other countries)? 일반영화와특수영화에대한한국대중의특별한열광을어떻게설명하겠는가? ( 한국인들은일반적으로 1년에 3번정도극장에간다. 독일인의경우고작 1,2회 ) 왜한국영화박스오피스에서국내생산비율이높다고생각하는가? d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? 한국의영화산업을국가적으로, 국제적으로성공시킨한국형발달모델이다른국가들로옮겨갈수있다고생각하는가? 3

4 ANLAGE ZU: ISBN / ISSN ) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? In your opinion, which factors make the New Korean Cinema so successful? 당신의관점에서볼때 NKC 의구체적특징들이무엇인가? 어떤요인들이 NKC 를성공으로이끌었다고생각하는가? b) Would you say that the New Korean Cinema manages in an especial, particularly good way to combine mainstream- with arthouse-elements? NKC 가주류영화와예술적요소들을혼합하는좋은방향으로관리하고있다고생각하는가? c) Which three movies would you think are particularly important/trendsetting for the New Korean Cinema? Please explain your choice. NKC 에있어특별히중요한역할을했다고생각되는영화세편을골라이유를설명하시오 d) Could you please rate the elements in terms of typical or atypical for the New Korean Cinema? NKC 의전형적인혹은비전형적인요소들의중요도를매기시오. (1: very uncharacteristic... 5: very characteristic) Irony / 비꼼 ( ) Black humor / 섬뜩한유머 ( ) Sudden mood swings / 갑작스러운분위기변화 ( ) Melodramatic / 멜로드라마틱 ( ) Genre Mixing / 혼합장르 ( ) Visual ingenuity / 눈에보이는시각적독창성 ( ) Explicit representation of violence / 노골적인폭력묘사 ( ) Celebrity cult (actors) / 유명인사추종 ( 배우들 ) ( ) Celebrity cult (directors) / 유명인사추종 ( 감독들 ) ( ) Confucian values / 유교적가치 ( ) 4

5 1. Interviewleitfaden Specific Korean themes and topics / 특유의한국적테마및주제 ( ) 4) Director Park Chan-Wook and the New Korean Cinema 박찬욱감독과 NKC a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? NKC에서박찬욱감독의중요도는어느정도라고생각하는가? ( ) b) What do you spontaneously associate with the films of director Park Chan- Wook? 당신은박찬욱감독의영화를떠올렸을때자연적으로연상되는것은무엇인가? c) Which three movies of this director would you evaluate as particularly important? 박찬욱감독의영화중에서특히중요하게생각되는영화세편은? d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? NKC 흐름과연관되어있는한국의영화제작자세명은? ) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? 한국영화산업의전망은어떻다고보는가? b) Where do you still see potential growth fields for the film industry? 영화산업이가장잘성장할수있는 ( 잠재력이있는 ) 분야는어디라고생각하는가? c) How could the label/brand New Korean Cinema be positioned even better around the world? NKC 라는상호가세계적으로더나은입지를구축할수있는방법은무엇인가? Thank you very much for your participation in this study! 설문에참여해주셔서감사합니다 5

6 ANHANG 2: TRANSKRIPTE DER INTERVIEWS INTERVIEW 1: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Hong Sun-Myeon (Busan Film & Visual Industry Association) 1) Introductory questions a) What is your name and what is your profession? My name is Hong Sun-Myeon and I m working for BIVA as a manager. b) What does the abbreviation BIVA mean? Can you describe your field of activity in a few words? BIVA stands for Busan Film & Visual Industry Association. We mainly try to generate interest in Busan as standpoint for film production etc.. I try to bring companies together, connecting people, ideas and money. c) How many movies do you watch during a year approximately? Hm not many, no time for it d) What do you personally associate with the term New Korean Cinema? Do you mean that term for new films from Korea in general? I connect this NKC -term with films from maybe 2000 on. Yes, movies from the 2000s to now. 6

7 2. Transkripte der Interviews 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? Let me think. A good scenario is very, very important. The use of new cameras HD-cameras. Most important are stories which are related to the viewersdaily life or life circumstances in some way. b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 2 State protective measures and incentives 5 Innovative financing models 3 Higher production standards 4 Hallyu phenomenon 5 NKC as a trendy label/brand 4 Additional comments: c) How do you explain the especial enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? The Korean movies often really connect to the people with the stories, settings, the big named stars the industry built up. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? I don t think so. It has to do with so many factors and the situation of every country is whole different 3) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? I would say: style, national based stories and great directors and actors. b) Would you say that the New Korean Cinema manages in an special particularly good way to combine mainstream- with arthouse-elements? Yes Can you say a bit more about this? The movies get the big crowd and then they run at the art film festivals too. Not all, but many directors manage it well to combine these elements. 7

8 ANLAGE ZU: ISBN / ISSN c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. The Host 2. JSA 3. Memories of a Murder (this is most important in my view) Why Memories of Murder is so specially important in your view? It really brings back the memories of this difficult times, of the struggel of not beeing free, but it s also very entertaining, thrilling, even funny. d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 2 Black humor 2 Sudden mood swings 2 Melodramatic 3 Genre Mixing 3 Visual ingenuity 4 Explicit representation of violence 3 Celebrity cult (actors) 2 Celebrity cult (directors) 2 Confucian values 3 Specific Korean themes/topics 5 Additional comments: To have the right themes is the most important 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 3 b) What do you spontaneously associate with the films of director Park Chan- Wook? They have a uniqueness c) Which three movies of this director would you evaluate as particularly important? 1) JSA 2) Oldboy 3) Lady Vengeance d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 8

9 2. Transkripte der Interviews 1) Bong Joon-ho 2) Kim Ki-duk 3) Kim Jee-Woon 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? I guess having very korean themes and mixing the genres is a benefit and could be good for future developments as well. In addition, attracting new people outside Korea is a perspective. b) Where do you still see potential growth fields for the film industry? In the field of animated movies. A lot of animated japanese movies and even american movies are painted and produced in Korea. We have the knowhow to produce more animated movies and with them it s easier to get foreign viewers interested in Korean movies. Leafie was a big hit in Korea this year and could work on other markets too. Animation movies made in Korea have a high potential. c) How could the label/brand New Korean Cinema be positioned even better around the world? With more well made animation movies. Furthermore, I still believe that more movies with great stories and scenarios will spread the brand further. INTERVIEW 2: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Choi Hong-Suk (Incheon Film Commission) 9

10 ANLAGE ZU: ISBN / ISSN ) Introductory questions a) What is your name and what is your profession? Choi Hong-Suk. I m a location coordinator for the Incheon Film Commission. b) Please describe your company. How would you describe your field of activity? The company makes efforts in contributing the development of Incheon city as a center of film & culture. Mainly I m exploring the feasible location sites for movies, and scouting different locations which are suitable for film concepts in Incheon. In addition I support film teams for obtaining various permits/ approvals related to filming. I m involved in various film-related events such as presentations, film lectures, Q+As. c) How many movies do you watch during a year approximately? About 20. d) What do you personally associate with the term New Korean Cinema? High quality films made in Korea, maybe. 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? Incentives of the state and the strong connections between politics and the movie industry are very important fort the success of the Korean Film Industry, I guess. b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 1 State protective measures and incentives 3 Innovative financing models 4 Higher production standards 2 Hallyu phenomenon 3 NKC as a trendy label/brand 2 NKC between mainstream/arthouse 4 NKC reflection of society 4 Additional comments: c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? I don t understand the question. What you exactly want to know? Korean people seem to like films in general a lot. They go for example much more often to the cinema as people of other nations. For example Koreans go about three times a year to the cinema and Germans in general only 1,2 times. Do 10

11 2. Transkripte der Interviews you have an idea why Korean people are more enthusiastic about movies or in Korean cinema in special? I think most people like movies. Maybe Koreans like movies more and europeans more theater and opera and so on. We have not such aleisure time tradition so movies could be for young people and/or dating people like in Europe or the USA. Really good movies work for all ages, so they reach olders too. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? No. It has to do with the great movies of the Korean filmmakers. 3) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? The KOFIC do a great work in supporting the movie industry. Thats very important. The new korean directors with supported by the KOFIC brought the success, b) Would you say that the New Korean Cinema manages in an especial, particularly good way to combine mainstream- with arthouse-elements? Yes You can say a bit more about it? I do not know what to say. Butt the combination works in Korean movies well. c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. Oldboy 2. My Sassy girl 3. The Host d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 2 Black humor 3 Sudden mood swings 3 Melodramatic 3 Genre Mixing 4 Visual ingenuity 4 Explicit representation of violence 2 Celebrity cult (actors) 2 Celebrity cult (directors) 4 11

12 ANLAGE ZU: ISBN / ISSN Confucian values 1 Specific Korean themes/topics 4 Additional comments: 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 5 b) What do you spontaneously associate with the films of director Park Chan- Wook? He brings new experiences to the audience c) Which three movies of this director would you evaluate as particularly important? 1) Oldboy 2) Mr. Vengeance 3) Lady Vengeance d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Kim Dong-Joo (producer) 3) Oh Ki-min (producer) 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? The Korean movie industry will have a good future. More international coproduction should help to increase international sales. b) Where do you still see potential growth fields for the film industry? I don t know. c) How could the label/brand New Korean Cinema be positioned even better around the world? More advertising at the international market for the best known korean directors and actors 12

13 2. Transkripte der Interviews INTERVIEW 3: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Ko Mori (Eleven Arts) 1) Introductory questions a) What is your name and what is your profession? My name is Ko Mori. I m CEO of Eleven Arts. b) Please describe your company. How would you describe your field of activity? Eleven Arts is located in Los Angeles and deals with domestic and international distribution rights. I m working as a producer and also looking for international films which are interesting for our company. c) How many movies do you watch during a year approximately? I don t know. d) What do you personally associate with the term New Korean Cinema? I don t know the term NKC. 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? I think it s the very special mix of government support for the industry and talent. b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 2 State protective measures and incentives 5 Innovative financing models 4 13

14 ANLAGE ZU: ISBN / ISSN Higher production standards 5 Hallyu phenomenon 1 NKC as a trendy label/brand 1 NKC between mainstream/arthouse 5 NKC reflection of society 4 Additional comments: Can you explain the term Hallyu to me, please. c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? Why the ratio of domestic production in Korean cinema box office is so high (compared to other countries)? The enthusiasm has to do with the great movies the Korean movie industry produces. The high box office ratio is due to a general high quality of the domestic productions. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? No, that is not possible. It was the right model for the right time and place. 3) New Korean Cinema a) When you understand the NKC as a general term for Korean movies from 1996 until now: What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? Great visuals and spezial, often violent stories with local elements. b) Would you say that the New Korean Cinema manages in an special, particularly good way to combine mainstream- with arthouse-elements? Yes, sure. For example Park Chan-Wooks movies combine in a wonderful way arthouse and mainstream. It s dark, it s fun and interesting to watch for many reasons. c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. Oldboy 2. The Host 3. JSA 4. The Man from Nowhere d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) 14

15 2. Transkripte der Interviews Characteristic-Rate Irony 3 Black humor 3 Sudden mood swings 4 Melodramatic 2 Genre Mixing 4 Visual ingenuity 4 Explicit representation of violence 4 Celebrity cult (actors) 5 Celebrity cult (directors) 5 Confucian values 3 Specific Korean themes/topics 4 Additional comments: 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 5 b) What do you spontaneously associate with the films of director Park Chan- Wook? Originality As I mentioned before: He knows how to mix Arthouse and Commercial cinema in a genuine way. c) Which three movies of this director would you evaluate as particularly important? 1) Oldboy 2) JSA 3) Lady Vengeance d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Kim Ki-Duk 3) Lee Chang-Dong 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? The korean movie industry has bright future prospects I think. b) Where do you still see potential growth fields for the film industry? I see a growth potential in pan-asian film productions. 15

16 ANLAGE ZU: ISBN / ISSN c) How could the label/brand New Korean Cinema be positioned even better around the world? I don t know. INTERVIEW 4: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Nam Erica (MiroVision) 1) Introductory questions a) What is your name and what is your profession? Erica Nam. I m the director of the international Division of MiroVision. b) Please describe your company. How would you describe your field of activity? MiroVision was founded in First we only purchased distribution rights for Korea (Europea films and later also US-Films like The Other or The Butterfly Effect ). Today the company has expanded its business field. Now we are working on co-production and production too. My working field is the distribution of international movies in Korea as well as the co-production/production part. c) How many movies do you watch during a year approximately? I watch many movies about two per week. d) What do you personally associate with the term New Korean Cinema? This term is very general. I prefer to say Korean Movie Wave. I associate with this well made, quality movies as well as the big business with Korean movies in general. 16

17 2. Transkripte der Interviews 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? There were several factors that came together: The KOFIC did a great promotion work for Korean movies Since the 90ies there have been made huge investments in the market It s surely a producer driven market The Korean movie industry has very talented directors The new liberal government really promotes the film industry b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 3 State protective measures and incentives 4 Innovative financing models 4 Higher production standards 4 Hallyu phenomenon 4 NKC as a trendy label/brand 4 NKC between mainstream/arthouse 4 NKC reflection of society 4 Additional comments: c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? Why the ratio of domestic production in Korean cinema box office is so high (compared to other countries)? There is a kind of society pressure to spend money to leisure activities and to experience something exciting in your free time. Cinema is a less expensive, but common and exciting entertainment form. In Korea it s specially a place for dating. Mainly women love cinema in Korea I guess. The ratio of domestic production is so huge, due to the generally high quality of the Korean movies and the Koreans proud of the Korean cinema. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? I have no clear opinion about this. 3) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? 17

18 ANLAGE ZU: ISBN / ISSN Variety Manpower Talented filmmakers A proud audience b) Would you say that the New Korean Cinema manages in an special, particularly good way to combine mainstream- with arthouse-elements? Yes, that is true. c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. The Host 2. Oldboy 3. Shiri d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 2 Black humor 3 Sudden mood swings 3 Melodramatic 5 Genre Mixing 4 Visual ingenuity 4 Explicit representation of violence 4 Celebrity cult (actors) 4 Celebrity cult (directors) 4 Confucian values 2 Specific Korean themes/topics 3 Additional comments: 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 4 5 b) What do you spontaneously associate with the films of director Park Chan- Wook? 1) Stylish 2) Violence 3) Genius c) Which three movies of this director would you evaluate as particularly important? 18

19 2. Transkripte der Interviews 1) Oldboy 2) JSA 3) Sympathy for Mr. Vengeance d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Kim Jee-Woon 3) Kim Ki-Duk 4) Lee Chang-Dong 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? Hopefully positive. I think more countries now try to protect their own movie industries and thus more difficult for Korean movies to expand internationally. b) Where do you still see potential growth fields for the film industry? With manpower and the movie enthusiasm of the Korean people there should still be a general growth potential for the industry. c) How could the label/brand New Korean Cinema be positioned even better around the world? We can only try our best to make the brand NKC even more famous and recognizable. 19

20 ANLAGE ZU: ISBN / ISSN INTERVIEW 5: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Kim Jina (M-Line Distribution) 1) Introductory questions a) What is your name and what is your profession? I m Jina Kim and I m working in the Sales department of M-Line Distribution. b) Please describe your company. How would you describe your field of activity? The company is active in international sales, co-production and financing of movies. My job consists of the international marketing and sales of Korean movies. c) How many movies do you watch during a year approximately? I watch about 1 2 movies every week. d) What do you personally associate with the term New Korean Cinema? What is NKC? I guess you mean modern Korean movies in general with this term, or? So I would say high production standards. 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? The liberal atmoshere in politics and that there is no cencorship anymore. b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 4 State protective measures and incentives 5 Innovative financing models 5 Higher production standards 3 20

21 2. Transkripte der Interviews Hallyu phenomenon 3 NKC as a trendy label/brand 3 NKC between mainstream/arthouse 3 NKC reflection of society 1 Additional comments: about Oligopoly: this is something that should disappear eventually about financing models: It s very important but not so successful c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? Why the ratio of domestic production in Korean cinema box office is so high (compared to other countries)? There are not so many cultural experiences to substitute cinema as free time activety in Korea. For example Germans or French people spend more time to go to the opera or to theater plays than Korean people. There is not the tradition for that and not such an offer than in Europe. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? No, it s not transferable. 3) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? New Cinema Movements take place everywhere in the world. It always has to do with great directors, who have an clear artistic vision. b) Would you say that the New Korean Cinema manages in an special, particularly good way to combine mainstream- with arthouse-elements? There is nothing special about this c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. The Day a Pig Fell Into the Well 2. Shiri 3. Marriage Story (1992) d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 2 Black humor 2 Sudden mood swings 4 21

22 ANLAGE ZU: ISBN / ISSN Melodramatic 5 Genre Mixing 5 Visual ingenuity 5 Explicit representation of violence 3 Celebrity cult (actors) 3 Celebrity cult (directors) 4 Confucian values 2 Specific Korean themes/topics 4 Additional comments: 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 3 b) What do you spontaneously associate with the films of director Park Chan- Wook? Violence Blood c) Which three movies of this director would you evaluate as particularly important? 1) JSA 2) Sympathy for Mr. Vengeace 3) Oldboy d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Kim Jee-Woon 3) Hong Sang-Soo 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? We even need more support from the government. KOFIC should become an independent organization and should be free from political influence. Then the industry prospects for the industry is not bad. b) Where do you still see potential growth fields for the film industry? I don t know. c) How could the label/brand New Korean Cinema be positioned even better around the world? 22

23 2. Transkripte der Interviews For me it s not a brand. It needs a better definition, another term and then we need more advertisment for it. INTERVIEW 6: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Lee Seung-Hee (FineCut) 1) Introductory questions a) What is your name and what is your profession? Lee Seung-He. I m in the sales & marketing department of FineCut. b) Please describe your company. How would you describe your field of activity? Finecut does international sales, financing and production of films. I m looking for international movies for our lineup and doing marketing campaigns. c) How many movies do you watch during a year approximately? About 100 in a year. d) What do you personally associate with the term New Korean Cinema? Fresh, new cinema. Lot s of talent in the industry. 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? A mix of chaebol money, KOFIC support and talented people. b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) 23

24 ANLAGE ZU: ISBN / ISSN Rate of importance Oligopoly structure of the film industry 4 State protective measures and incentives 5 Innovative financing models 3 Higher production standards 5 Hallyu phenomenon 4 NKC as a trendy label/brand 4 NKC between mainstream/arthouse 5 NKC reflection of society 4 Additional comments: c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? Why the ratio of domestic production in Korean cinema box office is so high (compared to other countries)? There is a wide range of movies, they are so different that everybody should find something interesting for him/her. Cinema ist the main leisure attraction in Korea and the Koreans like to find Korean topics in the movies. Usually Korean movies are well made too. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? Perhaps, but it will be difficult to transfer. 3) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? The modern look of the movies is important and also that they deal with Korean themes and connect fun at the one and good stories at the other hand. b) Would you say that the New Korean Cinema manages in an special, particularly good way to combine mainstream- with arthouse-elements? Yes c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. The Host 2. My wife is a gangster this was the first Korean film which rights were sold to Hollywood for a remake 3. Oldboy d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) 24

25 2. Transkripte der Interviews Characteristic-Rate Irony 4 Black humor 3 Sudden mood swings 5 Melodramatic 5 Genre Mixing 5 Visual ingenuity 5 Explicit representation of violence 4 Celebrity cult (actors) 3 Celebrity cult (directors) 4 Confucian values 3 Specific Korean themes/topics 5 Additional comments: 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 5 b) What do you spontaneously associate with the films of director Park Chan- Wook? Success abroad, style c) Which three movies of this director would you evaluate as particularly important? 1) Oldboy 2) JSA 3) Thirst d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Lee Chang-Dong 2) Kim Jee-Woon 3) Kim Ki-Duk 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? I see good prospects. Especially with new co-production-prjects with other Asian countries like China b) Where do you still see potential growth fields for the film industry? Export of Korean movies and big Pan-Asian-Co-Productions. 25

26 ANLAGE ZU: ISBN / ISSN c) How could the label/brand New Korean Cinema be positioned even better around the world? No clue. INTERVIEW 7: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Kim Eugene (Showbox) 1) Introductory questions a) What is your name and what is your profession? My name is Kim Eugene. I m working for Showbox Mediaplex Inc.. b) Please describe your company. How would you describe your field of activity? Showbox Mediaplex Inc. is one of the leading companies in the Korean movie industry. I m in International Marketing. c) How many movies do you watch during a year approximately? 50 movies, maybe. d) What do you personally associate with the term New Korean Cinema? Korean movies from the 90ies on. 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? Free development without cencorship and that chaebols and other investors put lots of money in the movie sector. 26

27 2. Transkripte der Interviews b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 5 State protective measures and incentives 4 Innovative financing models 4 Higher production standards 5 Hallyu phenomenon 4 NKC as a trendy label/brand 3 NKC between mainstream/arthouse 4 NKC reflection of society 3 Additional comments: Oh yes, the oligopoly structure and the production standards are the most important c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? Why the ratio of domestic production in Korean cinema box office is so high (compared to other countries)? Koreans seem to like cinema and our national movies guarantee good quality, so people go to watch them. Koreans are also proud of the industry and it s success. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? No way, it s not possible. 3) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? I guess it s much about genres. Korean Horror and Thriller movies are very successful nationally and internationally. Often they are related to violent revenge themes. There are many good directors and producers in Korea and cause they get support and freedom in their creating process the national film industry is in good shape. b) Would you say that the New Korean Cinema manages in an special, particularly good way to combine mainstream- with arthouse-elements? Yes, I think so. Often you can find different elements together mixed together. c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. Taegukgi 2. Memories of a Murder 27

28 ANLAGE ZU: ISBN / ISSN JSA d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 3 Black humor 2 Sudden mood swings 4 Melodramatic 3 Genre Mixing 5 Visual ingenuity 5 Explicit representation of violence 5 Celebrity cult (actors) 3 Celebrity cult (directors) 4 Confucian values 4 Specific Korean themes/topics 5 Additional comments: 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 4 b) What do you spontaneously associate with the films of director Park Chan- Wook? Violence, high style c) Which three movies of this director would you evaluate as particularly important? 1) JSA 2) Mr. Vengeance 3) Oldboy d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Kim Ki-Duk 2) Kim Jee-Woon 3) Bong Joon-Ho 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? The last years were difficult. I hope that everything becomes better again. 28

29 2. Transkripte der Interviews b) Where do you still see potential growth fields for the film industry? Productions with low/middle cost ranges. c) How could the label/brand New Korean Cinema be positioned even better around the world? Advertisement, more participating in festivals, maybe the KOFIC could do events like in London (there is a spezial event every year to present Korean movies). INTERVIEW 8: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Woo Luka (Independent Film Festival Busan) 1) Introductory questions a) What is your name and what is your profession? I m Luka Woo, programmer of the Independent Film Festival in Busan. b) Can you say something about the festival? Our festival takes place every year in Busan, usually in november and gives a platform to low budget productions and documentaries a platform in Korea. c) How many movies do you watch during a year approximately? 10 during a month, maybe. d) What do you personally associate with the term New Korean Cinema? I would see this term in relation with famous directors like Bong Yoon-Ho or Kim Jee-Woon 29

30 ANLAGE ZU: ISBN / ISSN ) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? The liberal and supportive politic was important for the development. Also interesting stories and directors with visions were key factors fort he industries development. b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 3 State protective measures and incentives 5 Innovative financing models 3 Higher production standards 4 Hallyu phenomenon 4 NKC as a trendy label/brand 2 NKC between mainstream/arthouse 3 NKC reflection of society 5 Additional comments: c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? Why the ratio of domestic production in Korean cinema box office is so high (compared to other countries)? There are great movies to see, so the people go to watch them. They like to talk about them and feel like being a part of the success story of the Korean movie industry. Some movies like The Host or Shiri people really had to see when they were released. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? Why that should be not possible for other nations. They can learn from the Korean industry story. 3) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? High production quality, very good directors and stuff, special visuals. b) Would you say that the New Korean Cinema manages in an special, particularly good way to combine mainstream- with arthouse-elements? 30

31 2. Transkripte der Interviews I say yes to this c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. The Host 2. Memories of a Murder 3. Shiri d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 3 Black humor 3 Sudden mood swings 3 Melodramatic 4 Genre Mixing 4 Visual ingenuity 5 Explicit representation of violence 3 Celebrity cult (actors) 3 Celebrity cult (directors) 3 Confucian values 2 Specific Korean themes/topics 5 Additional comments: 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 5 b) What do you spontaneously associate with the films of director Park Chan- Wook? Unorthodox story and visuals c) Which three movies of this director would you evaluate as particularly important? 1) Oldboy 2) Mr. Vengeace 3) JSA d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-Ho 2) Hong Sang-soo 3) Lee Chang-Dong 31

32 ANLAGE ZU: ISBN / ISSN ) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? The prospects are not bad. Deregulation of the industry is an important point for the future. Can you be a little more specific about this, please? The oligopoly structure is not the best for a developed industry. The state and KOFIC have to focus more on smaler companies not only the big ones. b) Where do you still see potential growth fields for the film industry? I think that now the times for smaller films come. It s not all about big budgets anymore. We see that the independent sector stil has growing potential. c) How could the label/brand New Korean Cinema be positioned even better around the world? I do not know. INTERVIEW 9: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Lee Samantha (CJ Pictures) 1) Introductory questions a) What is your name and what is your profession? Lee Samantha is my name. I m working as a Sales Manager. b) Please describe your company. How would you describe your field of activity? CJ Entertainment is the leading entertainment company in Korea and produces and 32

33 2. Transkripte der Interviews distributes lots of movies. My job is to sell productions to other countries or territories, I m also doing presentations, negotiations etc. c) How many movies do you watch during a year approximately? About 30 a year. d) What do you personally associate with the term New Korean Cinema? I have The Hallyu wave in mind when I hear New Korean Cinema. 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? A good political and financial frame and the interest of people in movies. Maybe good stories too. b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 4 State protective measures and incentives 5 Innovative financing models 5 Higher production standards 5 Hallyu phenomenon 5 NKC as a trendy label/brand 4 NKC between mainstream/arthouse 3 NKC reflection of society 3 Additional comments: c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? Why the ratio of domestic production in Korean cinema box office is so high (compared to other countries)? It seems that Koreans like movies and they are proud of the good movies from their country. In other countries people know and recognize hallyu, actors, series, movies from Korea people are happy and enthusiastic about this fact. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? No, I don t think this works 33

34 ANLAGE ZU: ISBN / ISSN ) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? Korean topics in the movies, interesting stories. b) Would you say that the New Korean Cinema manages in an special, particularly good way to combine mainstream- with arthouse-elements? NKC often have a good mixture, yes. c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. Shiri 2. Friend 3. Peppermint Candy d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 2 Black humor 3 Sudden mood swings 3 Melodramatic 5 Genre Mixing 4 Visual ingenuity 4 Explicit representation of violence 5 Celebrity cult (actors) 4 Celebrity cult (directors) 5 Confucian values 3 Specific Korean themes/topics 3 Additional comments: 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 3 b) What do you spontaneously associate with the films of director Park Chan- Wook? violence c) Which three movies of this director would you evaluate as particularly important? 1) JSA 34

35 2. Transkripte der Interviews 2) Mr. Vengeace 3) d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Lee Chang-Dong 2) Bong Joon-Ho 3) Kim Jee-Woon 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? When we manage to reduce the production costs there will be a good future for the industy. b) Where do you still see potential growth fields for the film industry? Maybe series formats movies divided in different chapters, or international coproduction. c) How could the label/brand New Korean Cinema be positioned even better around the world? The big companies can make more advertising and sales events, maybe together with KOFIC. INTERVIEW 10: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Jung Soojin (Showbox) 35

36 ANLAGE ZU: ISBN / ISSN ) Introductory questions a) What is your name and what is your profession? Hello, my name is Jung Soojin and I m working as a film manager. b) Please describe your company. How would you describe your field of activity? I m a manager in International Business for Showbox. Showbox/Mediaplex Inc. belongs to the Orion Group and is a big player in the entertainment sector. We mainly distribute movies, but with Megabox the company has it s own theater chain in Korea too. c) How many movies do you watch during a year approximately? What I should say? 40 50, maybe. d) What do you personally associate with the term New Korean Cinema? Domestically: box office records Internationally: the hallyu-wave 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? Talented people and the investment of big companies reformed the industry and made it structured and successful. The state and KOFIC also helped a lot by supporting the industry. b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 5 State protective measures and incentives 4 Innovative financing models 4 Higher production standards 5 Hallyu phenomenon 5 NKC as a trendy label/brand 3 NKC between mainstream/arthouse 3 NKC reflection of society 4 Additional comments: c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? Yes, the Koreans are enthusiastic about their movies and their movie industry. I guess they like good movies, like to support the national movies and cinema, and they are proud of it. d) Do you think that the Korean development model which made the Korean 36

37 2. Transkripte der Interviews movie industry so successful nationally and internationally can be transferred to other countries? How I could say. Should be very difficult to transfer. 3) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? Good working star-system and a well structured industry. Movies tend to be violent. b) Would you say that the New Korean Cinema manages in an special, particularly good way to combine mainstream- with arthouse-elements? Yes. It s entertaining cinema, but many movies also work in some way for critics and festivals. c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. JSA 2. Memories of a Murder 3. The Host d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 2 Black humor 3 Sudden mood swings 3 Melodramatic 5 Genre Mixing 4 Visual ingenuity 4 Explicit representation of violence 3 Celebrity cult (actors) 4 Celebrity cult (directors) 3 Confucian values 1 Specific Korean themes/topics 3 Additional comments: 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 4 37

38 ANLAGE ZU: ISBN / ISSN b) What do you spontaneously associate with the films of director Park Chan- Wook? Revenge, Style c) Which three movies of this director would you evaluate as particularly important? 1) JSA 2) Oldboy 3) d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Lee Chang-Dong 3) Kim Jee-woon 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? Nobody knows. b) Where do you still see potential growth fields for the film industry? In Animation films, also Indi-productions worked well last years and still have growth potential. c) How could the label/brand New Korean Cinema be positioned even better around the world? Impresssive movies with good international campaigns. 38

39 2. Transkripte der Interviews INTERVIEW 11: Datum: Ort: BEXCO Exhibition Hall 1 (Asian Film Market 2011) Interviewpartner: Kim Woody (Korean Film Council) 1) Introductory questions a) What is your name and what is your profession? Woody Kim. I m a manager of the international promotion center of KOFIC b) Please describe your company. How would you describe your field of activity? KOFIC (Korean Film Council) is an institution of the state to support the film industry (national / international I m a member of the global marketing team and the main focus of my work is the development and promotion of KOBIZ (online promotion system for Korean movies). c) How many movies do you watch during a year approximately? 60 d) What do you personally associate with the term New Korean Cinema? Variety I mainly connect the variety of Korean cinema with this term 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? Three main points: 1. the successful KOFIC support system 2. the incentives for investments from the state 3. the talented people in the industry b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) 39

40 ANLAGE ZU: ISBN / ISSN Rate of importance Oligopoly structure of the film industry 4 State protective measures and incentives 5 Innovative financing models 3 Higher production standards 5 Hallyu phenomenon 4 NKC as a trendy label/brand 4 NKC between mainstream/arthouse 4 NKC reflection of society 3 Additional comments: c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? Interesting movies and the will of people to support the own movie industy. The KOFIC just announced a new 3-years-plan to expand the Korean film industry to a size of 1,3 billion dollar until 2013 (an increase of 300 million dollar). Can you mention the main points and main concept behind this ambitious plan, please? We will put more interest into the export market. The industry needs to grow at the international market and therefore we plan to expand co-production-programs with China/Japan. This will help us getting more access to the asian markets. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? No. It s a local development that has to do with quite a lot of things. 3) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? Modern, visual breathtaking cinema and big movie stars in asia (successful star system) In the beginning the screen-quota-system helped a lot to stabilize the market.and state incentives as well as the support of KOFIC are still important factors. b) Would you say that the New Korean Cinema manages in an special, particularly good way to combine mainstream- with arthouse-elements? Yes c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. The Host 2. Shiri 40

41 2. Transkripte der Interviews 3. My Sassy Girl d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 2 Black humor 4 Sudden mood swings 2 Melodramatic 5 Genre Mixing 5 Visual ingenuity 5 Explicit representation of violence 4 Celebrity cult (actors) 3 Celebrity cult (directors) 4 Confucian values 2 Specific Korean themes/topics 4 Additional comments: 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 4 b) What do you spontaneously associate with the films of director Park Chan- Wook? Perfect visuals and brutality c) Which three movies of this director would you evaluate as particularly important? 1) Oldboy 2) JSA 3) Mr. Vengeance d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Kim Ki-Duk 3) Lee Chang-Dong 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? As you said the 3-years-plan is ambitious but we work to fulfill it. Thus has a good prospect for the Korean movie industry. 41

42 ANLAGE ZU: ISBN / ISSN Can you say a little bit more about the 3-years-plan? The plan has two main points: 1. going global mainly due to more co-productions with CJ-Entertainment as distributor 2. developing the download market (video on demand has a high potential) In addition, we try to advance our mobil applications, assist the sales companies even more and we plan to support a new arthouse chain in Korea. b) Where do you still see potential growth fields for the film industry? I still see growth potential in co-productions with Japan and especially China. The VoD-market is still in development and has a high potetial too. c) How could the label/brand New Korean Cinema be positioned even better around the world? more advertisment more appearence on film festivals also smaller, more specialised festivals INTERVIEW 12: Datum: Ort: Interviewpartner: Cleary Martin ( 1) Introductory questions a) What is your name and what is your profession? My name is Martin Cleary and I m the Editor / Lead writer for the website NewKoreanCinema.com. I m also a contributor to the forthcoming Directory of World Cinema: South Korea and a regular guest on the What s Korean Cinema? podcast. b) Please describe your company. How would you describe your field of activity? New Korean Cinema is an entirely non-commercial, non-profit website dedicated to Korean cinema. Although the name of the site is a reference to the cultural phenomenon that followed the Korean New Wave in the late 90s, the pages here are not limited to this period. I m a writer of reviews, articles and reporting on news of interest surrounding the South Korean film industry. 42

43 2. Transkripte der Interviews c) How many movies do you watch during a year approximately? No idea. At a guess 250? Maybe more, maybe less... d) What do you personally associate with the term New Korean Cinema? Apart from the name of my website (!) I associate the term New Korean Cinema with the output of the South Korean film industry since the late 1990 s, following the New Wave. In this context it s a very general term including all output from the film industry. It s also only one which is in use (an alternative being the Korean New Wave or Hallyu). How do you tackle the New Korean Cinema? First and foremost I m a fan of Korean cinema as a result of the New Korean Cinema. If, however, you mean how do I tackle the NKC in terms its broad subject then there are many different approaches to this broad subject. My personal areas of interest are where the new Korean cinema has emerged from (and to understand this in many regards you need to understand the old Korean cinema) as well as taking on the NKC on its own terms with regards to genre, the director as auteur versus commercial considerations and the way that Korean cinema has travelled overseas. The distribution of Korean cinema abroad interests me a great deal because it pulls some of the commercial considerations of the industry into focus. 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? Domestically the important factors appear to have been government support of the industry, including the screen quota and the relaxation of strict censorship, the transformation of the industry into a commercial business (via investment companies, not limited to the output itself but also investment in theatres) and a generation of filmmakers who subsequently managed to seperate themselves from the old Korean system which historically grew to often place divides between cheap genre material, art house cinema and political statement. Thanks to the changes in the industry (and the treatment of this industry as having real financial potential) the NKC filmmakers realised that they could incorporate all of the these things genre, arthouse, politics into one thing. b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 3 State protective measures and incentives 4 Innovative financing models 4 Higher production standards 4 Hallyu phenomenon 4 43

44 ANLAGE ZU: ISBN / ISSN NKC as a trendy label/brand 3 NKC between mainstream/arthouse 4 NKC reflection of society 3 Additional comments: Oligopoly structure of the film industry The structure of the was industry was definitely a key factor in ushering in the the NKC although this obviously comes with both benefits and some negatives. In the late nineties Korean films were still relatively low budget, and with the emergence of investment from the chaebol they discovered that with a hit films the profit margin could be incredibly high. Even when film budgets began to rise to improve production quality they were still low-risk investments. Up through to the mid 2000 s the budgets continued to grow with the investment risk also rising. Therefore in at the begining of the NKC cycle the productions were often more challenging and interesting projects, chances were taken to make slightly more unusual films like Attack The Gas Station (Kim Sang-jin, 1999) and Nowhere To Hide (Lee Myung-se, 1999) whereas the films became less daring the larger the financial investment from the industry. State protective measures and government incentives This was immensly important in establishing the groundwork for the NKC mainly by allowing the industry to become a profitable and investable market: the quota and subsidies seem to have helped shoe-horn this in during the late nineties. Although the quota had been around since 1967 long enough not to be the key reason of the success in NKC and therefore an element which can be overstated it wasn t until the mid to late nineties that it started to be enforced, largely due to the actions of some Quota Watch groups. This happened around the same time that the government encouraged investment and had begun to aid the filmmakers and distributors rather than hinder them with overbearing censorship laws. Innovative financing models Again, in the early nineties the Netizen Funds helped to transform the industry into a profitable industry, a market that people would both invest in and, by attending screenings, become a part of. It s one of many key elements which all fed into the NKC, perfect timing. Higher production standards High production standards have been important as the industry has clearly tried to emulate the US system in terms of types of films, creating a star system (including filmmakers) and delivered a clear change in the appearance of Korean films. For years the national film industry had worked with low budgets and looked like it was working with low budgets, but the investment in production equipment, teaching and post production meant thet even when working with low budgets the output of the industry didn t look like a low quality film. This worked on a national 44

45 2. Transkripte der Interviews level but was also incredibly important in allowing Korean films to break out overseas, into the import export markets which always like to see good looking films. Hallyu phenomenon (fort he Export Filmmarket) The Hallyu is a slightly strange beast on one hand it appears to be a clever marketing technique used to sell music, films and art overseas and on the otherhand it genuinely reflects the growing interest in this new market. It s very clever. It was a term coined in China at the end of the nineties right on the cusp of the NKC and mainly refered to television and music but it can be equally applied to film. Obviously the export market has always been a big deal to Korea and the term Hallyu sometimes feels like a naff marketing ploy to gain recognition and label it with something cool but on the otherhand it s very real and it works well within music and television but not necessarily quite to the same extent within film. New Korean Cinema as a trendy label/brand Generally I think this has worked well, it s been a fairly positive image and a sign of the sudden emergence of Korean cinema over the last ten years, particularly when projecting this idea overseas. I would also say this as its the name of my website (not a decision necessarily made with full consideration made to the wider scope of Korean cinema, but certainly a snappy name). I m not sure how trendy the term is, other than in general reference it s too broad to be used in discussions other than those focusing on a general overview or to define a rough period of time but it seems to generally be the term prefered over Hallyu when discussing film at least in the UK! New Korean Cinema as a cinema between the borders of mainstream and arthouse cinema I m not sure I understand the way to rate this as I can only agree that the term succesfully sites between mainstream and arthouse cinema. If you mean in terms of providing international credibility (for example at film festivals) then I would say that this has worked amazingly well and would rate a 4 or 5. This is partly because the very best films and filmmakers have walked the line between arthouse and mainstream incredibly well for a director like Bong Joon-ho to make a film like The Host and follow it up with Mother and gain both critical acclaim and box-office success is very impressive. On the other side of this, taking a a slightly more cynical point of view, it s not uncommon for an international film festival to show a genre film with the director present just presence of the director him or herself seems to suggest that the film must have some kind of wider cultural relevance. The idea that the NKC walks both the mainstream and athouse cinema lines has been important to its success regardless of whether it has been true with every release. c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? Why the ratio of 45

46 ANLAGE ZU: ISBN / ISSN domestic production in Korean cinema box office is so high (compared to other countries)? Hmmm. That s an interesting question but isn;t something that I ve ever really considered so I can t give an opinion to be honest. About the high ratio: For all of the reasons outlined in section 2 of these questions, but, overall because of proven financial success. Obviosuly it s also the reason why Hollywood (which always comes chasing box-office before talent) is showing an interest in investing in Korean films (Yellow Sea), Korean directors (Park Chanwook, Kim Jee-woon) and remaking Korean films (Oldboy). d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? Yes, I don t see why not. We ve seen screen quota s used in places like France, and cinema is very often used to reflect and create a national identity. However this is a process that requires commitment and investment and many national industries have moved away from the long term investment in cinema and chase the big hits something that the Korean film industry has been in danger of swaying towards over the last five or six years. 3) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? Which factors make the New Korean Cinema so successful? In terms of typifying the output of the filmmakers I think this was initially characterised by a very good understanding of film in a broad sense productionwise and writing wise, which meant that a great deal of output could be characterised by genre at least in the first instance. Korean horror films, thrillers, melodrama s action films demonstrated such a strong understanding of genre that they appeared very quickly to be leaders of these types of films in many markets. Then there are the filmmakers who also worked within these types of films but who chose to subvert the genre (so as Kim Jee-woon, Bong Joon-hoo and Park Chanwook) so not only did the initial wave of films in the early 2000s interest genre fans but NKC also appeared to be extremely cutting edge as Korean filmmakers were seen to be pushing boundaries. I think that a large number of films have an inbuilt market due to their use of genre and this has been exploited by marketing which hits all of the right buttons. That s from a sales point of view. In terms of respectability the Korean film industry has been keen to embrace festivals which, given the high number of films that have received awards, has paid off in terms of placing Korean cinema on the map with academics and film critics. 46

47 2. Transkripte der Interviews With regards to the overseas markets, Korean films are again generally very accessible. While there s something fresh about the best of Korean films, for newcomers they re never very far away from something they ve seen before, so they re comfortably familiar even when adding their own unique elements. It also took a while for distributors to find a way to sell the films (their intial marketing attempted to line up the Korean industry with output from Hong Kong, something that never really made sense and was soon jettisoned) but the Asia Extreme market love it or hate it did manage to ensure that people start picking up Korean titles without even necessarily realising that s what they were doing. The J-horror craze and the Revenge Trilogy linked into this perfectly. Of course, it s meant that the representation of Korean cinema is somewhat skewed in the UK and US but it means that Korea is usually represented at festivals and in the World Cinema sections of stores. b) Would you say that the New Korean Cinema manages in an especial, particularly good way to combine mainstream- with arthouse-elements? I would say that this was initially one of its key strengths. It s something that faded with time and the two seem to have become a little more seperated again, although a handful of filmmakers have managed to keep that balance. Korean filmmakers appear to be keenly aware of their markets and so this seems to in many cases be a conscious decision to walk this line while a Hong Sang-soo film may play almost exclusively to the arthouse crowd rather than the mainstream, a Bong Joon-ho film such as Mother or The Host may play to both. c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. I find this a very difficult question to answer as there are differences between success domestically and internationally, so these are the three choices that I ve gone with but they could just as easily have been another three: 1. My Sassy Girl (Kwak Jae-young, 2001) A massive hit in Korea and Asian territories, MSG was a powerhouse hit it didn t only make lots of money but it established Korean rom-coms and teen comedies as cutting edge and cool. Ten years later and films are still being compared to it, it emerged at the point when Korean films had received some success and then this just floored the competition. It s easy to praise the NKC films that subvert genre but My Sassy Girl also proved that you could stick to the rules too if you made sure that the script, cast and direction was perfectly put together. 2. Christmas In August (Hur Jin-ho, 1998 Released around the start of the NKC this melodrama might not be massively wellknown outside of Korea but it has been enormously influential, particularly in the years surrounding its release. It s blatantly referenced in plenty of other films (including my first pick, My Sassy Girl) the film pulled of the NKC trick of 47

48 ANLAGE ZU: ISBN / ISSN established a box-office duo with pulling power, using Koreas favourite genre of film, made lots of money and received critical acclaim. Korean melodramas are often the unsung heros of the NKC but they account for a massive amount of its success across Asia. The film helped ensure that melodrama was never going to disappear as being uncool and its stars particularly Han Suk-kyu were involved in some of the biggest domestic and exported films that followed in the next few years, including Shiri and Tell Me Something. 3. Shiri (Kang Je-gyu, 1999) Between this and Park Chan-wook s J.S.A. the tensions between North and South Korea were transformed into two very different films but box-office gold. While Shiri is not the strongest Korean film made at this time, it hit every point that it aimed to slick, high production values (compared to previous Korean output), a popular cast, marketable story Shiri is a sign of the NKC machine begining to work. While it managed to emulate the depth of the over-produced US films that it was aiming to compete with (i.e. not much) its a success in most other regards. The success of Shiri became a defining moment for the NKC and its effects are still noticeable it s not the most interesting of the NKC films but its effect can be felt in its substantial financial might! d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 3 Black humor 3 Sudden mood swings 4 Melodramatic 4 Genre Mixing 5 Visual ingenuity 5 Explicit representation of violence 5 Celebrity cult (actors) 3 Celebrity cult (directors) 4 Confucian values 3 Specific Korean themes/topics 4 Additional comments: Part of the beauty of the NKC is the mix and diversity of films that it has produced and while elements of everything below can be found in the different films I find it difficult to grade this. I would agree that a large number of these films have a dry irony and a black sense of humour but there are equal films that are quite suprising in their lack of pessimism and display unusually innocent perspectives. The one element that is missing from your list which I believe is important is a level of nostalgia prevelant in Korean films which can be linked to each of the groups below ironic, blackly humorous, melodramatic, etc. 48

49 2. Transkripte der Interviews 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 5 I think Park Chan-wook has been the poster boy for the NKC overseas and that his film Oldboy was a water-shed moment for Korean cinema and has led the way that Korean films have been perceived overseas since. Prior to the success of Oldboy distributors seemed to fumble around to sell their films, often with references to other Asian directors such as John Woo. Because of the success of Oldboy distributors such as Tartan pushed Park Chan-wook in front of his films (in much the same way as Tarantino was promoted as much as Pulp Fiction it seems quite fitting that Tarantino was on the Cannes panel that gave Oldboy the Grand Prix in 2004) so that every Korean film that has been distributed in the UK and US since seems to have to take their position on where they stand in relation to his films he s a touchstone. This was cemented by the selling of the Vengeance Trilogy label a genius piece of marketing. In Korea I believe PCW is even more significant as the director of J.S.A. a film which tackled the elephant in the room and, as good as the subsequent box-office was and acclaim it received, it was still quite a risky project. I think that Oldboy may have become the touchstone for Korean film in the West, but in the early 2000s J.S.A was the touchstone for films tackling the Korean relationship between the North and South. b) What do you spontaneously associate with the films of director Park Chan- Wook? Beautiful visuals and a black sense of humour. For me his most succesful films deliver on the humour because his eye for stunning visuals is a given. c) Which three movies of this director would you evaluate as particularly important? 1) Joint Security Area For the reasons given in 4a. I think it s one of the key films in the emergence of the NKC and in doing so it gave PCW the financial clout which ensures projects get financed. It broke his streak of being box-office poison and even the cast he put together for the film has become like a who s-who of the NKC. It s also an incredibly powerful and moving film. 2) Oldboy I don t think that this is his best film by any means but, for the reasons given in 4a its a significant piece of work even iconic in many ways and its importance in breaking out of the Korean market like no other film had previosuly managed. 3) Sympathy for Mr. Vengeance I believe this is Park Chan-wooks best film and while it failed miserably at the box- 49

50 ANLAGE ZU: ISBN / ISSN office it may even be his defining film. If other Korean films released in the West are judged against Oldby, I believe PCW may have judged his subsequent work on this. It s a film that is everything Oldboy is not one of the most blackly funny films in recent memory and one that can be read on many different levels. While the films is less flashy visually it s PCW s most epic and consistent. Outside of the film itself, following SFMV Park Chan-wook seems to have learnt the art of selling himself and his films in many ways the least interesting of his trilogy Lady Vengeance was the one film which was marketed the best, lessons learnt. d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Kim Jee-woon A director who emerged very early on in the NKC and who delivered accessible, crowd-pleasing films with The Quiet Family and The Foul King then tapped perfectly into the J-horror market with A Tale Of Two Sisters before tapping into different markets with A Bittersweet Life and The Good, The Bad, The Weird and the recent I Saw The Devil. I ve listed all of his films because KJW s films almost follow the curve of the NKC starting with low key but very well made genre pieces before delivering a horror film that truly subverted the genre, then locking into the bigger markets with larger budget films even if he starts to lose some of the more low-key elements that made him interesting in the first place. That s not dismissing him as a director, that s recognising KJWs ability to do exactly what the NKC has tried to do produce interesting work that is financially successful popular auteurs. 2) Bong Joon-ho If Park Chan-wook and Kim Jee-woon walk the line of NKC with different projects, the term NKC could have been invented to describe the work of Bong Joon-ho. Managing to walk the tightrope between mainstream and arthouse while refusing to admit that there s evena tightrop there, Bong Joon-ho has been the most consistent director to have emerged, both critically and at the box-office. There s not alot else I need to say about him if you ve seen the film Memories of Murder. 3) Lee Chang-dong Bridging the gap between the Korean New Wave are the directors Lee Chang-dong and, I m going to cheat, and mention Hong Sang-soo. Here are two directors that walk from the other end of the Park Chan-wook / Bong Joon-ho tightrope more typically Korean without their output (and amazingly successful domestically) while classed more as art-house overseas but also just managing to tip into the mainstream markets. An honourary mention must also go to director Kim Ki-duk a director who divides both domestic and international audiences and may not have the box-office 50

51 2. Transkripte der Interviews figures of the directors above, but he keeps Korean cinema in the news more than most of them put together... 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? My own opinion is that the future is healthy for the industry although they re not necessarily going to see the profit margins that they might expect given overall rise in budgets compared to productions from ten years ago. Over the last three or four years there seems to have been the re-emergence of a lot more interesting smaller Korean films, and this for me has always been where the interest lies. Internationally the reputation of the Korean film industry continues to grow, while critics and audiences are becoming more familiar with the filmmakers, actors and themes and appear to be more open to more films than just the blockbusters. b) Where do you still see potential growth fields for the film industry? Distribution in the export market. Despite the growth of the industry and attempts to promote it overseas, it s still a nightmare getting a hold of copies of films. Anything that s more than a couple of years old becomes rare and this surely promotes torrents and bootlegs. Other than this the growth of smaller films is also very interesting and this isn t something that seems to be fully tapped into either domestically or internationally. c) How could the label/brand New Korean Cinema be positioned even better around the world? I think it s in the right place now, although the NKC has been around for a good ten years so it will be interesting to see if a new wave emerges! Understanding of the NKC will improve as we learn moreabout the old Korean cinema work by the likes of the Korean Film Archive is important in encouraging an understanding of the history of Korean film and this will help define and redefine what we mean by NKC. As a marketing term I think its still working in the way it should, although the extreme brand is still more recognised, so it would be nice to see a more rounded view of Korean films represented by distributors. However, revenge clearly sells!! 51

52 ANLAGE ZU: ISBN / ISSN INTERVIEW 13: Datum: Ort: Café Amokka, Taepyeongno 1(il)-ga, Jung-gu, Seoul Interviewpartner: Paquet Darcy ( 1) Introductory questions a) What is your name and what is your profession? My name is Darcy Paquet. I m the founder of Koreanfilm,org ; writer and reviewer for Screen International (a British film trade magazine), Variety, Cine 21 and book author. b) How would you describe your field of activity? I m managering Koreanfilm.org. Until 2008 I was in charge of the Korea news section of Screen International and since 2003 until now I have a column in Screen International. However, I also publish in other magazines. Furthermore I teach cinema classes in the Kyung Hee University. Last but not least, I m working as a delegate for the San Sebastian International Film Festival in Spain. c) One of your publications has the title New Korean Cinema Breaking the waves how you would define New Korean Cinema? What does the term stand for? The terms Korean New Wave / New Korean Cinema are substitutes. NKC is the more international term while in Korea Korean New Wave is more popular. The terms are mainly related to a new generation of directors from 1996/1997 and later on. 2) Success factors of the Korean film industry + audience enthusiasm a) What do you think which are the success factors behind the rapid development of the Korean film industry during the last years of the millennium until 2006? 52

53 2. Transkripte der Interviews I would say the success factors are: a new generation of directors from 1996 on the structure of the industry changed in the 90ies totally (now it s very efficiently structured) b) Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Rate of importance Oligopoly structure of the film industry 3 State protective measures and incentives 4 Innovative financing models 4 Higher production standards 5 Hallyu phenomenon 4 NKC as a trendy label/brand 3 NKC between mainstream/arthouse 4 NKC reflection of society 4 Additional comments: about state protective: screen-quota was important for the 90ies/ but less important since 2000 incentives are very important for the financing process innovative financing models were relevant after the asia crisis in the late 90ies they were relevant c) How do you explain the special enthusiasm of the Korean public towards cinema in general and towards the Korean cinema in special? It s an art/entertainment-form everybody in Korea talks about The industry keeps the audience interested with good and varied productions The enthusiasm is also an Asian-phenomenon when you look at Japan/Hongkong Why the ratio of domestic production in Korean cinema box office is so high (compared to other countries)? In some way you can see this all over Asia. The American/Hollywood culture is far away and thus people are more supportive for national cinema. d) Do you think that the Korean development model which made the Korean movie industry so successful nationally and internationally can be transferred to other countries? Just for learning from it, sure. However, the model is to specificly related to Korea and a broad factor-mixture. The government policies and the general government support are essential factors, which should be transferable for other countries. 53

54 ANLAGE ZU: ISBN / ISSN ) New Korean Cinema a) What are the specific characteristics of the New Korean Cinema from your point of view? range of different movies (they are very varied in style, story, etc.) strong visuals in general (often very glossy) technically convincing cinema Which factors make the New Korean Cinema so successful? emotional directness of the movies in Asia: melodramatic elements are a key for success b) Would you say that the New Korean Cinema manages in an special, particularly good way to combine mainstream- with arthouse-elements? From 1996 until about 2000 the NKC managed this combination in a specific way After 2000 you can find this great mix only in the work of some directors like Bong or Park. c) Which three movies would you think are particularly important/trend-setting for the New Korean Cinema? Please explain your choice. 1. Memories of Murder 2. Oldboy 3. Friend 4. My Sassy Girl d) Could you please rate the elements in terms of atypical or typical for the New Korean Cinema? (1: very uncharacteristic... 5: very characteristic) Characteristic-Rate Irony 1 Black humor 3 Sudden mood swings 3 Melodramatic 4 Genre Mixing 4 Visual ingenuity 5 Explicit representation of violence 4 Celebrity cult (actors) 4 Celebrity cult (directors) 4 Confucian values 3 Specific Korean themes/topics 4 Additional comments: 54

55 2. Transkripte der Interviews 4) Director Park Chan-Wook and the New Korean Cinema a) How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significan... 5: very significant) 5 b) What do you spontaneously associate with the films of director Park Chan- Wook? stylish / intense / cinephil c) Which three movies of this director would you evaluate as particularly important? 1) Sympathy for Mr. Vengeance 2) Oldboy 3) JSA / Thirst d) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Lee Chang-Dong 3) Kim Ki-Duk 5) Future perspectives + marketing perspectives a) Which are the prospects of the future of the Korean movie industry? It depends: the indepenent-/low budget sector is still promising the mainstream sector (the prospects are okay, but the growth potential is low) the movies of the famous directors (Bong/Lee/Park) have an optimistic outlook b) Where do you still see potential growth fields for the film industry? potential is still in the independent sector there are still huge growth possibilities in the non-pan-asian-countries c) How could the label/brand New Korean Cinema be positioned even better around the world? it makes sense to push the famous director names and use them as a marketingkey for all korean movies outside Asia people not differ between Korean cinema and movies from other asian countries. The main focus should be placed on ensuring that the Korean cinema is perceived as an independent and spezial national cinema. 55

56 ANHANG 3: THEMATISCHES ORDNEN DER INTERVIEWS INTERVIEW 1: 5 1) Introductory questions Profession: manager (film commission) How many movies do you watch during a year approximately? Association with the term New Korean Cinema : with films from maybe 2000 on. movies from the 1990s to now ) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry A good scenario is very, very important. The use of new HD-cameras. Most important are stories which are related to the viewers daily life or life circumstances in some way. Special Korean enthusiasm in cinema in general / Korean cinema The Korean movies often really connect to the people with the stories, settings, the big named stars the industry built up. Is the Korean film industry development transferable? I don t think so ) New Korean Cinema Specific characteristics of the New Korean Cinema : I would say: style, national based stories and great directors and actors. New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: yes, many directors manage it well to combine these elements. Three particularly important/trend-setting movies for the New Korean Cinema 1. The Host 56

57 3. Thematisches Ordnen der Interviews 2. JSA 3. Memories of a Murder (this is most important in my view) 30 Why Memories of Murder is so specially important in your view? It really brings back the memories of this difficult times, of the struggel of not beeing free, but it s also very entertaining, thrilling, even funny ) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 3 Association with the films of director Park Chan-Wook: They have a uniqueness Three important movies of this director: 1) JSA 2) Oldboy 3) Lady Vengeance Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-Ho 2) Kim Ki-Duk 3) Kim Jee-Woon ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: having very korean themes and mixing the genres is a benefit and could be good for future developments as well Potential growth fields for the film industry: In the field of animated movies. We have the knowhow to produce more animated movies and with them it s easier to get foreign viewers interested in Korean movies. Animation movies made in Korea have a high potential. attracting new people outside Korea is a perspective. How could the label/brand New Korean Cinema be better positioned internationally? more well made animation movies. more movies with great stories and scenarios will spread the brand further. 57

58 ANLAGE ZU: ISBN / ISSN INTERVIEW 2: 5 1) Introductory questions Profession: manager / location coordinator (film commission) How many movies do you watch during a year approximately? 20 Association with the term New Korean Cinema : High quality films made in Korea ) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry Incentives of the state the strong connections between politics and the movie industry Special Korean enthusiasm in cinema in general / Korean cinema Maybe Koreans like movies more and europeans more theater and opera and so on. We have not such a leisure time tradition so movies could be for young people and/or dating people like in Europe or the USA Is the Korean film industry development transferable? No. It has to do with the great movies of the Korean filmmakers ) New Korean Cinema Specific characteristics of the New Korean Cinema : The KOFIC do a great work in supporting the movie industry. Thats very important. The new korean directors supported by the KOFIC brought the success. New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: yes Three particularly important/trend-setting movies for the New Korean Cinema 1. Oldboy 2. My Sassy girl 3. The Host 30 4) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 5 Association with the films of director Park Chan-Wook: He brings new experiences to the audience 58

59 3. Thematisches Ordnen der Interviews Three important movies of this director: 1) Oldboy 2) Mr. Vengeance 3) Lady Vengeance Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Kim Dong-Joo (producer) 3) Oh Ki-min (producer) ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: The Korean movie industry will have a good future. More international coproduction should help to increase international sales. Potential growth fields for the film industry: I don t know How could the label/brand New Korean Cinema be better positioned internationally? More advertising at the international market for the best known korean directors and actors INTERVIEW 3: 5 1) Introductory questions Profession: manager (international distribution) How many movies do you watch during a year approximately? don t know Association with the term New Korean Cinema : No association / I don t know the term NKC. 10 2) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: I think it s the very special mix of government support for the industry and talent Special Korean enthusiasm in cinema in general / Korean cinema: The enthusiasm has to do with the great movies the Korean movie industry produces. 59

60 ANLAGE ZU: ISBN / ISSN The high box office ratio is due to a general high quality of the domestic productions. Is the Korean film industry development transferable? No, that is not possible. It was the right model for the right time and place ) New Korean Cinema Specific characteristics of the New Korean Cinema : Great visuals and special, often violent stories with local elements. New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: Yes, sure. For example Park Chan-Wooks movies combine in a wonderful way arthouse and mainstream. It s dark, it s fun and interesting to watch for many reasons. Three particularly important/trend-setting movies for the New Korean Cinema 1. Oldboy 2. The Host 3. JSA 4. The Man from Nowhere 4) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 5 Association with the films of director Park Chan-Wook: Originality He knows how to mix Arthouse and Commercial cinema in a genuine way. Three important movies of this director: 1) Oldboy 2) JSA 3) Lady Vengeance Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Kim Ki-Duk 3) Lee Chang-Dong 5) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: The korean movie industry has a bright future prospects I think. 60

61 3. Thematisches Ordnen der Interviews 50 Potential growth fields for the film industry: I see a growth potential in pan-asian film productions. How could the label/brand New Korean Cinema be better positioned internationally? I don t know INTERVIEW 4: ) Introductory questions Profession: manager (director of the international division) How many movies do you watch during a year approximately? two a week (104) Association with the term New Korean Cinema : This term is very general. I prefer to say Korean Movie Wave. I associate with this well made, quality movies as well as the big business with Korean movies in general. 2) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: There were several factors that came together: The KOFIC did a great promotion work for Korean movies Since the 90ies there have been made huge investments in the market It s surely a producer driven market The Korean movie industry has very talented directors The new liberal government really promotes the film industry Special Korean enthusiasm in cinema in general / Korean cinema: There is a kind of society pressure to spend money to leisure activities and to experience something exciting in your free time. Cinema is a less expensive, but common and exciting entertainment form. In Korea it s specially a place for dating. Mainly women love cinema in Korea I guess. The ratio of domestic production is so huge, due to the generally high quality of the Korean movies and the Koreans proud of the Korean cinema. Is the Korean film industry development transferable? I have no clear opinion about this. 61

62 ANLAGE ZU: ISBN / ISSN ) New Korean Cinema Specific characteristics of the New Korean Cinema : Variety Manpower Talented filmmakers A proud audience New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: Yes, that is true. Three particularly important/trend-setting movies for the New Korean Cinema 1. The Host 2. Oldboy 3. Shiri 4) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 4 5 Association with the films of director Park Chan-Wook: Stylish Violence Genius Three important movies of this director: 1) Oldboy 2) JSA 3) Sympathy for Mr. Vengeance Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Kim Jee-Woon 3) Kim Ki-Duk 4) Lee Chang-Dong 60 5) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: Hopefully positive. More countries now try to protect their own movie industries and thus more difficult for Korean movies to expand nternationally. 62

63 3. Thematisches Ordnen der Interviews Potential growth fields for the film industry: With manpower and the movie enthusiasm of the Korean people there should still be a general growth potential for the industry. 65 How could the label/brand New Korean Cinema be better positioned internationally? We can only try our best to make the brand NKC even more famous and recognizable. INTERVIEW 5: 5 1) Introductory questions Profession: manager (sales department/ national/intern. distribution) How many movies do you watch during a year approximately? one/two a week (80) Association with the term New Korean Cinema : What is NKC? I guess you mean modern Korean movies in general with this term, or? So I would say high production standards ) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: The liberal atmoshere in politics and that there is no cencorship anymore. Special Korean enthusiasm in cinema in general / Korean cinema: There are not so many cultural experiences to substitute cinema as free time activety in Korea. For example Germans or French people spend more time to go to the opera or to theater plays than Korean people. There is not the tradition for that and not such an offer than in Europe. Is the Korean film industry development transferable? No, it s not transferable. 20 3) New Korean Cinema Specific characteristics of the New Korean Cinema : New Cinema Movements take place everywhere in the world. It always has to do with great directors, who have an clear artistic vision. 63

64 ANLAGE ZU: ISBN / ISSN New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: There is nothing special about this. Three particularly important/trend-setting movies for the New Korean Cinema 1. The Day a Pig Fell Into the Well 2. Shiri 3. Marriage Story (1992) ) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 3 Association with the films of director Park Chan-Wook: Violence Blood Three important movies of this director: 1) JSA 2) Sympathy for Mr. Vengeace 3) Oldboy Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Kim Jee-Woon 3) Hong Sang-Soo ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: We even need more support from the government. KOFIC should become an independent organization and should be free from political influence. Then the industry prospects for the industry is not bad. Potential growth fields for the film industry: I don t know. How could the label/brand New Korean Cinema be better positioned internationally? For me it s not a brand. It needs a better definition, another term and then we need more advertisment for it. 64

65 3. Thematisches Ordnen der Interviews INTERVIEW 6: 5 1) Introductory questions Profession: manager (sales & marketing department) How many movies do you watch during a year approximately? 100 Association with the term New Korean Cinema : Fresh, new cinema. Lot s of talent in the industry ) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: A mix off: chaebol money, KOFIC support and talented people (in the industry). Special Korean enthusiasm in cinema in general / Korean cinema: There is a wide range of movies, they are so different that everybody should find something interesting for him/her. Cinema ist the main leisure attraction in Korea and the Koreans like to find Korean topics in the movies. Usually Korean movies are well made too. Is the Korean film industry development transferable? Perhaps, but it will be difficult to transfer. 3) New Korean Cinema Specific characteristics of the New Korean Cinema : The modern look of the movies is important they deal with Korean themes connect fun at the one and good stories at the other hand. New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: No. Three particularly important/trend-setting movies for the New Korean Cinema 1. The Host 2. My wife is a gangster this was the first Korean film which rights were sold to Hollywood for a remake 3. Oldboy 4) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the 65

66 ANLAGE ZU: ISBN / ISSN New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 5 Association with the films of director Park Chan-Wook: Success abroad, style Three important movies of this director: 1) Oldboy 2) JSA 3) Thirst Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Lee Chang-Dong 2) Kim Jee-Woon 3) Kim Ki-Duk ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: I see good prospects. Especially with new co-production-prjects with other Asian countries like China. Potential growth fields for the film industry: Export of Korean movies and big Pan-Asian-Co-Productions. How could the label/brand New Korean Cinema be better positioned internationally? No clue INTERVIEW 7: 5 1) Introductory questions Profession: manager (international marketing) How many movies do you watch during a year approximately? 50 Association with the term New Korean Cinema : Korean movies from the 90ies on. 2) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: 66

67 3. Thematisches Ordnen der Interviews 10 Free development without cencorship chaebols and other investors put lots of money in the movie sector. Special Korean enthusiasm in cinema in general / Korean cinema: Koreans seem to like cinema and our national movies guarantee good quality, so people go to watch them. Koreans are also proud of the industry and it s success. 15 Is the Korean film industry development transferable? No way, it s not possible ) New Korean Cinema Specific characteristics of the New Korean Cinema : I guess it s much about genres. Korean Horror and Thriller movies are very successful nationally and internationally. Often they are related to violent revenge themes. There are many good directors and producers in Korea and cause they get support and freedom in their creating process the national film industry is in good shape. New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: Yes, I think so. Often you can find different elements together mixed together. Three particularly important/trend-setting movies for the New Korean Cinema 1. Taegukgi 2. Memories of a Murder 3. JSA ) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 4 Association with the films of director Park Chan-Wook: Violence High style Three important movies of this director: 1) JSA 2) Mr. Vengeance 3) Oldboy Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Kim Ki-Duk 67

68 ANLAGE ZU: ISBN / ISSN ) Kim Jee-Woon 3) Bong Joon-Ho ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: The last years were difficult. I hope that everything becomes better again. Potential growth fields for the film industry: Productions with low/middle cost ranges. How could the label/brand New Korean Cinema be better positioned internationally? Advertisement more participating in festivals, maybe the KOFIC could do events like in London (there is a spezial event every year to present Korean movies). INTERVIEW 8: 5 1) Introductory questions Profession: festival programmer How many movies do you watch during a year approximately? 120 Association with the term New Korean Cinema : I would see this term in relation with famous directors like Bong Yoon-Ho or Kim Jee-Woon ) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: The liberal and supportive politic was important for the development. Also interesting stories and good directors with visions were key factors for the industries development. Special Korean enthusiasm in cinema in general / Korean cinema: There are great movies to see, so the people go to watch them. They like to talk about them and feel like being a part of the success story of the Korean movie industry. Some movies like The Host or Shiri people really had to see when they were released. Is the Korean film industry development transferable? Why that should be not possible for other nations. They can learn from the Korean industry story. 68

69 3. Thematisches Ordnen der Interviews ) New Korean Cinema Specific characteristics of the New Korean Cinema : High production quality very good directors and stuff special visuals. New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: I say yes to this Three particularly important/trend-setting movies for the New Korean Cinema 1. The Host 2. Memories of Murder 3. JSA ) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 5 Association with the films of director Park Chan-Wook: Unorthodox story Visuals Three important movies of this director: 1) Oldboy 2) Mr. Vengeace 3) JSA Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-Ho 2) Hong Sang-soo 3) Lee Chang-Dong 50 5) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: The prospects are not bad. Deregulation of the industry is an important point for the future. The oligopoly structure is not the best for a developed industry. The state and KOFIC have to focus more on smaler companies not only the big ones. 69

70 ANLAGE ZU: ISBN / ISSN Potential growth fields for the film industry: I think that now the times for smaller films come. It s not all about big budgets anymore. We see that the independent sector stil has growing potential. How could the label/brand New Korean Cinema be better positioned internationally? I do not know. INTERVIEW 9: 5 1) Introductory questions Profession: manager (sales manager/ national/international distribution) How many movies do you watch during a year approximately? 30 Association with the term New Korean Cinema : I have the Hallyu-wave in mind when I hear New Korean Cinema ) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: A good political and financial frame the interest of people in movies. Maybe good stories too. Special Korean enthusiasm in cinema in general / Korean cinema: It seems that Koreans like movies and they are proud of the good movies from their country. In other countries people know and recognize hallyu, actors, series, movies from Korea people are happy and enthusiastic about this fact Is the Korean film industry development transferable? No, I don t think this works ) New Korean Cinema Specific characteristics of the New Korean Cinema : Korean topics in the movies, interesting stories. New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: NKC often have a good mixture, yes. Three particularly important/trend-setting movies for the New Korean Cinema 1. Shiri 70

71 3. Thematisches Ordnen der Interviews 2. Friend 3. Peppermint Candy ) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 3 Association with the films of director Park Chan-Wook: violence Three important movies of this director: 1) JSA 2) Mr. Vengeace 3) Oldboy Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Lee Chang-Dong 2) Bong Joon-Ho 3) Kim Jee-Woon ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: When we manage to reduce the production costs there will be a good future for the industy. Potential growth fields for the film industry: Maybe series formats movies divided in different chapters, or international co-production. How could the label/brand New Korean Cinema be better positioned internationally? The big companies can make more advertising and sales events, maybe together with KOFIC. 71

72 ANLAGE ZU: ISBN / ISSN INTERVIEW 10: 5 1) Introductory questions Profession: manager (international distribution) How many movies do you watch during a year approximately? Association with the term New Korean Cinema : Domestically: box office records Internationally: the hallyu-wave ) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: Talented people and the investment of big companies reformed the industry and made it structured and successful The state and KOFIC also helped a lot by supporting the industry. Special Korean enthusiasm in cinema in general / Korean cinema: Yes, the Koreans are enthusiastic about their movies and their movie industry. I guess they like good movies, like to support the national movies and cinema, and they are proud of it. Is the Korean film industry development transferable? How I could say. Should be very difficult to transfer ) New Korean Cinema Specific characteristics of the New Korean Cinema : Good working star-system well structured industry The movies tend to be violent. New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: Yes. It s entertaining cinema, but many movies work in some way for critics and festivals too Three particularly important/trend-setting movies for the New Korean Cinema 1. JSA 2. Memories of a Murder 3. The Host 4) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the 72

73 3. Thematisches Ordnen der Interviews 35 New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 4 Association with the films of director Park Chan-Wook: revenge style Three important movies of this director: 1) JSA 2) Oldboy 3) Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Lee Chang-Dong 3) Kim Jee-woon ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: Nobody knows. Potential growth fields for the film industry: In Animation films, also Indi-productions worked well last years and still have growth potential. How could the label/brand New Korean Cinema be better positioned internationally? Impresssive movies with good international campaigns. INTERVIEW 11: 5 1) Introductory questions Profession: manager film commission (international promotion) How many movies do you watch during a year approximately? 60 Association with the term New Korean Cinema : Variety I mainly connect the variety of Korean cinema with this term 2) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: 73

74 ANLAGE ZU: ISBN / ISSN Three main ponts: the successful KOFIC support system the incentives for investments from the state the talented people in the industry Special Korean enthusiasm in cinema in general / Korean cinema: Interesting movies and the will of people to support the own movie industy. Is the Korean film industry development transferable? No. It s a local development that has to do with quite a lot of things ) New Korean Cinema Specific characteristics of the New Korean Cinema : Modern, visual breathtaking cinema big movie stars in asia (successful star system). In the beginning the screen-quota-system helped a lot to stabilize the market.and state incentives as well as the support of KOFIC are still important factors. New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: Yes Three particularly important/trend-setting movies for the New Korean Cinema 1. The Host 2. Shiri 3. My Sassy Girl ) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 4 Association with the films of director Park Chan-Wook: Perfect visuals brutality Three important movies of this director: 1) Oldboy 2) JSA 3) Mr. Vengeance Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 2) Kim Ki-Duk 74

75 3. Thematisches Ordnen der Interviews 3) Lee Chang-Dong ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: As you said the 3-years-plan is ambitious but we work to fulfill it. Thus has a good prospect for the Korean movie industry. 1. going global mainly due to more co-productions with CJ-Entertainment as distributor 2. developing the download market (VoD has a high potential) Potential growth fields for the film industry: I still see growth potential in co-productions with Japan and especially China.The VoD-market is still in development and has a high potetial too. How could the label/brand New Korean Cinema be better positioned internationally? more advertisment more appearence on film festivals also smaller, more specialised festivals INTERVIEW 12: ) Introductory questions Profession: press/ journalist Editor / Lead writer for the website New KoreanCinema.com. I m also a contributor to the forthcoming Directory of World Cinema: South Korea How many movies do you watch during a year approximately? 250 Association with the term New Korean Cinema : Apart from the name of my website (!) I associate the term New Korean Cinema with the output of the South Korean film industry since the late 1990 s, following the New Wave. In this context it s a very general term including all output from the film industry. It s also only one which is in use (an alternative being the Korean New Wave or Hallyu). 15 2) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: Domestically the important factors appear to have been government support of the industry, including the screen quota and the relaxation of strict censorship, the transformation of the industry into a commercial business (via investment 75

76 ANLAGE ZU: ISBN / ISSN companies, not limited to the output itself but also investment in theatres) and a generation of filmmakers who subsequently managed to seperate themselves from the old Korean system which historically grew to often place divides between cheap genre material, art house cinema and political statement. Thanks to the changes in the industry (and the treatment of this industry as having real financial potential) the NKC filmmakers realised that they could incorporate all of the these things genre, arthouse, politics into one thing. Special Korean enthusiasm in cinema in general / Korean cinema: That s an interesting question but isn;t something that I ve ever really considered so I can t give an opinion to be honest. Is the Korean film industry development transferable? Yes, I don t see why not. We ve seen screen quota s used in places like France, and cinema is very often used to reflect and create a national identity. However - this is a process that requires commitment and investment and many national industries have moved away from the long term investment in cinema and chase the big hits something that the Korean film industry has been in danger of swaying towards over the last five or six years. 3) New Korean Cinema Specific characteristics of the New Korean Cinema : In terms of typifying the output of the filmmakers I think this was initially characterised by a very good understanding of film in a broad sense productionwise and writing wise, which meant that a great deal of output could be characterised by genre at least in the first instance. Korean horror films, thrillers, melodrama s action films demonstrated such a strong understanding of genre that they appeared very quickly to be leaders of these types of films in many markets. Then there are the filmmakers who also worked within these types of films but who chose to subvert the genre (so as Kim Jee-woon, Bong Joon-hoo and Park Chan-wook) so not only did the initial wave of films in the early 2000s interest genre fans but NKC also appeared to be extremely cutting edge as Korean filmmakers were seen to be pushing boundaries. I think that a large number of films have an inbuilt market due to their use of genre and this has been exploited by marketing which hits all of the right buttons. That s from a sales point of view. In terms of respectability the Korean film industry has been keen to embrace festivals which, given the high number of films that have received awards, has paid off in terms of placing Korean cinema on the map with academics and film critics. With regards to the overseas markets, Korean films are - again generally - very accessible. While there s something fresh about the best of Korean films, for 76

77 3. Thematisches Ordnen der Interviews newcomers they re never very far away from something they ve seen before, so they re comfortably familiar even when adding their own unique elements. It also took a while for distributors to find a way to sell the films (their intial marketing attempted to line up the Korean industry with output from Hong Kong, something that never really made sense and was soon jettisoned) but the Asia Extreme market love it or hate it did manage to ensure that people start picking up Korean titles without even necessarily realising that s what they were doing. The J-horror craze and the Revenge Trilogy linked into this perfectly. Of course, it s meant that the representation of Korean cinema is somewhat skewed in the UK and US but it means that Korea is usually represented at festivals and in the World Cinema sections of stores. New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: I would say that this was initially one of its key strengths. It s something that faded with time and the two seem to have become a little more seperated again, although a handful of filmmakers have managed to keep that balance. Korean filmmakers appear to be keenly aware of their markets and so this seems to in many cases be a conscious decision to walk this line while a Hong Sang-soo film may play almost exclusively to the arthouse crowd rather than the mainstream, a Bong Joon-ho film such as Mother or The Host may play to both. Three particularly important/trend-setting movies for the New Korean Cinema 1. My Sassy Girl (Kwak Jae-young, 2001) A massive hit in Korea and Asian territories, MSG was a powerhouse hit it didn t only make lots of money but it established Korean rom-coms and teen comedies as cutting edge and cool. Ten years later and films are still being compared to it, it emerged at the point when Korean films had received some success and then this just floored the competition. It s easy to praise the NKC films that subvert genre but My Sassy Girl also proved that you could stick to the rules too if you made sure that the script, cast and direction was perfectly put together. 2. Christmas In August (Hur Jin-ho, 1998) Released around the start of the NKC this melodrama might not be massively well-known outside of Korea but it has been enormously influential, particularly in the years surrounding its release. It s blatantly referenced in plenty of other films (including my first pick, My Sassy Girl) the film pulled of the NKC trick of established a box-office duo with pulling power, using Koreas favourite genre of film, made lots of money and received critical acclaim. Korean melodramas are often the unsung heros of the NKC but they account for a massive amount of its success across Asia. The film helped ensure that melodrama was never going to disappear as being uncool and its stars 77

78 ANLAGE ZU: ISBN / ISSN particularly Han Suk-kyu were involved in some of the biggest domestic and exported films that followed in the next few years, including Shiri and Tell Me Something. 3. Shiri (Kang Je-gyu, 1999) Between this and Park Chan-wook s J.S.A. the tensions between North and South Korea were transformed into two very different films but box-office gold. While Shiri is not the strongest Korean film made at this time, it hit every point that it aimed to slick, high production values (compared to previous Korean output), a popular cast, marketable story Shiri is a sign of the NKC machine begining to work. While it managed to emulate the depth of the over-produced US films that it was aiming to compete with (i.e. not much) its a success in most other regards. The success of Shiri became a defining moment for the NKC and its effects are still noticeable it s not the most interesting of the NKC films but its effect can be felt in its substantial financial might! ) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 5 I think Park Chan-wook has been the poster boy for the NKC overseas and that his film Oldboy was a watershed moment for Korean cinema and has led the way that Korean films have been perceived overseas since. Prior to the success of Oldboy distributors seemed to fumble around to sell their films, often with references to other Asian directors such as John Woo. Because of the success of Oldboy distributors such as Tartan pushed Park Chan-wook in front of his films (in much the same way as Tarantino was promoted as much as Pulp Fiction it seems quite fitting that Tarantino was on the Cannes panel that gave Oldboy the Grand Prix in 2004) so that every Korean film that has been distributed in the UK and US since seems to have to take their position on where they stand in relation to his films he s a touchstone. This was cemented by the selling of the Vengeance Trilogy label a genius piece of marketing. In Korea I believe PCW is even more significant as the director of J.S.A. - a film which tackled the elephant in the room and, as good as the subsequent boxoffice was and acclaim it received, it was still quite a risky project. I think that Oldboy may have become the touchstone for Korean film in the West, but in the early 2000s J.S.A was the touchstone for films tackling the Korean relationship between the North and South. Association with the films of director Park Chan-Wook: Beautiful visuals and a black sense of humour. For me his most succesful films deliver on the humour because his eye for stunning visuals is a given 78

79 3. Thematisches Ordnen der Interviews Three important movies of this director: 1) Joint Security Area for the reasons given in 4a. I think it s one of the key films in the emergence of the NKC and in doing so it gave PCW the financial clout which ensures projects get financed. It broke his streak of being box-office poison and even the cast he put together for the film has become like a who s-who of the NKC. It s also an incredibly powerful and moving film. 2) Oldboy I don t think that this is his best film by any means but, for the reasons given in 4a its a significant piece of work even iconic in many ways and its importance in breaking out of the Korean market like no other film had previosuly managed. 3) Sympathy for Mr. Vengeance I believe this is Park Chan-wooks best film and while it failedmiserably at the box-office it may even be his defining film. If other Korean films released in the West are judged against Oldby, I believe PCW may have judged his subsequent work on this. It s a film that is everything Oldboy is not one of the most blackly funny films in recent memory and one that can be read on many different levels. While the films is less flashy visually it s PCW s most epic and consistent. Outside of the film itself, following SFMV Park Chan-wook seems to have learnt the art of selling himself and his films in many ways the least interesting of his trilogy Lady Vengeance was the one film which was marketed the best, lessons learnt. Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Kim Jee-woon A director who emerged very early on in the NKC and who delivered accessible, crowd-pleasing films with The Quiet Family and The Foul King then tapped perfectly into the J-horror market with A Tale Of Two Sisters before tapping into different markets with A Bittersweet Life and The Good, The Bad, The Weird and the recent I Saw The Devil. I ve listed all of his films because KJW s films almost follow the curve of the NKC starting with low key but very well made genre pieces before delivering a horror film that truly subverted the genre, then locking into the bigger markets with larger budget films even if he starts to lose some of the more low-key elements that made him interesting in the first place. That s not dismissing him as a director, that s recognising KJWs ability to do exactly what the NKC has tried to do produce interesting work that is financially successful popular auteurs. 2) Bong Joon-ho If Park Chan-wook and Kim Jee-woon walk the line of NKC with different 79

80 ANLAGE ZU: ISBN / ISSN projects, the term NKC could have been invented to describe the work of Bong Joon-ho. Managing to walk the tightrope between mainstream and arthouse while refusing to admit that there s even a tightrop there, Bong Joon-ho has been the most consistent director to have emerged, both critically and at the box-office. There s not alot else I need to say about him if you ve seen the film Memories of Murder. 3) Lee Chang-dong Bridging the gap between the Korean New Wave are the directors Lee Chang-dong and, I m going to cheat, and mention Hong Sang-soo. Here are two directors that walk from the other end of the Park Chan-wook / Bong Joonho tightrope more typically Korean without their output (and amazingly successful domestically) while classed more as art-house overseas but also just managing to tip into the mainstream markets. 4) Kim Ki-duk An honourary mention must also go to director Kim Ki-duk a director who divides both domestic and international audiences and may not have the boxoffice figures of the directors above, but he keeps Korean cinema in the news more than most of them put together ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: My own opinion is that the future is healthy for the industry although they re not necessarily going to see the profit margins that they might expect given overall rise in budgets compared to productions from ten years ago. Over the last three or four years there seems to have been the re-emergence of a lot more interesting smaller Korean films, and this for me has always been where the interest lies. Internationally the reputation of the Korean film industry continues to grow, while critics and audiences are becoming more familiar with the filmmakers, actors and themes and appear to be more open to more films than just the blockbusters. Potential growth fields for the film industry: Distribution in the export market. Despite the growth of the industry and attempts to promote it overseas, it s still a nightmare getting a hold of copies of films. Anything that s more than a couple of years old becomes rare and this surely promotes torrents and bootlegs. Other than this the growth of smaller films is also very interesting and this isn t something that seems to be fully tapped into either domestically or internationally. How could the label/brand New Korean Cinema be better positioned internationally? 80

81 3. Thematisches Ordnen der Interviews I think it s in the right place now, although the NKC has been around for a good ten years so it will be interesting to see if a new wave emerges! Understanding of the NKC will improve as we learn moreabout the old Korean cinema work by the likes of the Korean Film Archive is important in encouraging an understanding of the history of Korean film and this will help define and redefine what we mean by NKC. As a marketing term I think its still working in the way it should, although the extreme brand is still more recognised, so it would be nice to see a more rounded view of Korean films represented by distributors. However, revenge clearly sells! INTERVIEW 13: ) Introductory questions Profession: press/ journalist (founder of Koreanfilm,org ); writer and reviewer for Screen International (a British film trade magazine), Variety, Cine 21 and book author. How many movies do you watch during a year approximately? Association with the term New Korean Cinema : The terms Korean New Wave / New Korean Cinema are substitutes. NKC is the more international term while in Korea Korean New Wave is more popular. The terms are mainly related to a new generation of directors from 1996/1997 and later on ) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry: I would say the success factors are: a new generation of directors from 1996 on the structure of the industry changed in the 90ies totally (now it s very efficiently structured) Special Korean enthusiasm in cinema in general / Korean cinema: It s an art/entertainment-form everybody in Korea talks about The industry keeps the audience interested with good and varied productions The enthusiasm is also an Asian-phenomenon when you look at Japan/Hongkong 81

82 ANLAGE ZU: ISBN / ISSN In some way you can see this all over Asia. The American/Hollywood culture is far away and thus people are more supportive for national cinema Is the Korean film industry development transferable? Just for learning from it, sure. However, the model is to specificly related to Korea and a broad factor-mixture. The government policies and the general government support are essential factors, which should be transferable for other countries. 3) New Korean Cinema Specific characteristics of the New Korean Cinema : range of different movies (they are very varied in style, story, etc.) strong visuals in general (often very glossy) technically convincing cinema New Korean Cinema stands for spezial mainstream/arthouse-elementcombination: From 1996 until about 2000 the NKC managed this combination in a specific way After 2000 you can find this great mix only in the work of some directors like Bong or Park. Three particularly important/trend-setting movies for the New Korean Cinema 1. Memories of Murder 2. Oldboy 3. Friend 4. My Sassy Girl 4) Director Park Chan-Wook and the New Korean Cinema How high would you rate the significance of director Park Chan-Wook for the New Korean Cinema? (Rating-range 1: not significant... 5: very significant) 5 Association with the films of director Park Chan-Wook: stylish intense cinephil Three important movies of this director: 1) Sympathy for Mr. Vengeance 2) Oldboy 3) JSA / Thirst Which three other Korean filmmakers would you name as particularly relevant for the New Korean Cinema -stream? 1) Bong Joon-ho 82

83 3. Thematisches Ordnen der Interviews 60 2) Lee Chang-Dong 3) Kim Ki-Duk ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry: the indepenent-/low budget sector is still promising the mainstream sector (the prospects are okay, but the growth potential is low) the movies of the famous directors (Bong/Lee/Park)have an optimistic outlook Potential growth fields for the film industry: potential is still in the independent sector there are still huge growth possibilities in the non-pan-asian-countries How could the label/brand New Korean Cinema be better positioned internationally? It makes sense to push the famous director names and use them as a marketingkey for all korean movies Outside Asia people not differ between Korean cinema and movies from other asian countries. The main focus should be placed on ensuring that the Korean cinema is perceived as an independent and spezial national cinema. 83

84 ANHANG 4: THEMATISCHER VERGLEICH UND KONZEPTUALISIERUNG 1) Introductory questions Please describe your company. Describe your field of activity Tabelle 1: No. Working field Profession Nationality 1 filmindustry film commission South-Korean 2 filmindustry film commission South-Korean 3 filmindustry international distribution US-American 4 filmindustry international distribution South-Korean 5 filmindustry national/intern. distribution South-Korean 6 filmindustry distribution/marketing South-Korean 7 filmindustry international marketing South-Korean 8 filmindustry festival programmer South-Korean 9 filmindustry national/intern. distribution South-Korean 10 filmindustry international distribution South-Korean 11 filmindustry film commission South-Korean 12 press journalist US-American 13 press journalist British 84

85 4. Thematischer Vergleich und Konzeptualisierung How many movies are watched during a year approximately Tabelle 2: No. Anzahl ,36 Association with the term New Korean Cinema Tabelle 3: No. 1 Films from the 1990s to now (Korean films) 2 High quality films 3 No direct association 4 Wellmade films / High quality cinema / Big Business 5 General modern Korean movies / High production standards 6 Fresh cinema / talents 7 Korean-movies from the 90ies on 8 Famous directors (Bong Joon -Ho, Kim Jee-Woon) 9 Hallyu-wave 10 Hallyu-wave / box office success / good movies 11 Variety of Korean cinema 85

86 ANLAGE ZU: ISBN / ISSN All output of the South Korean film industry since the late 1990 s 13 New generation of directors from 1996/1997 and later on Tabelle 4: Kategorien Anzahl Nennungen Gut gemachte Filme / Qualitativ hochwertige Filme 4 Koreanische Filme von den 1990er Jahren bis heute 3 Big Business / Box office success 2 Hallyu-wave 2 Bekannte (neue) Regisseure 2 Frisches/ Neues koreanisches Kino 2 Vielfalt des koreanischen Kinos 1 es waren mehrere Nennungen möglich 2) Success factors of the Korean film industry + audience enthusiasm Success factors behind the rapid development of the Korean film industry Tabelle 5: No. 1 Good scenario / new HD-cameras / stories, which are related to viewers (Koreans) in daily life 2 State Incentives / strong connection between politics and movie industry 3 State Incentives (Government support) / talent 4 KOFIC promotion / huge investments in the 1990s/ producer diven market / very talented directors / new liberal government (Mix) 5 Liberal politics / no censorship anymore 6 A Mix: Chaebol money / KOFIC support / talented people (in the industry) 7 Free development without censorship / chaebols and other investors put lots of money in the movie sector. 8 Liberal, supportive politics / talented directors / good stories 9 Good political and financial frame / good stories / enthusiastic people / good stories 10 KOFIC + state support / talent / investments / restructure of the industry 11 KOFIC support system / state incentives / talented people 86

87 4. Thematischer Vergleich und Konzeptualisierung 12 Government support of the industry / relaxation of strict censorship / the transformation of the industry / new generation of filmmakers (talent) / Arthouse/Mainstream-Mixture 13 A new generation of directors from 1996 on / restructuring of the industry Tabelle 6: Kategorien Anzahl Nennungen Institutionelle Faktoren (state incentives / no censorship / KOFIC) 10 Künstlerische Faktoren (talented people / new directors) 8 Ökonomische Faktoren (Chaebol investments/ investments) 6 Strukturelle Faktoren (restructuring of the movie industry) 3 Content Faktoren (good stories / korean themes) 3 Faktorenmix 2 Technische Faktoren (HD-cameras) 1 Filmenthusiasmus der Koreaner 1 es waren mehrere Nennungen möglich Please rate the importance of the following factors for the successful development of the Korean film industry: (1: not important... 5: very important) Tabelle 7: Kategorien Durchschnittliche Punktevergabe NKC als label/brand Ø 3,08 Oligopolstruktur der Filmindustrie Ø 3,31 NKC zwischen Arthouse/Mainstream Ø 3,69 NKC spiegelt die Gesellschaft wieder Ø 3,77 Innovative Finanzierungsmodelle Ø 3,85 Hallyu-Phänomen (Export) Ø 3,85 Höhere Produktionsstandards Ø 4,38 Staatliche Maßnahmen (Subventionen/Förderungen) Ø 4,46 Explanation of a special Korean film enthusiasm Tabelle 8: No. 1 The Korean movies often really connect to the people (stories/ settings / stars) 87

88 ANLAGE ZU: ISBN / ISSN Maybe Koreans like movies more and europeans more theater and opera and so on. We have not such a leisure time tradition 3 The enthusiasm has to do with the great movies the Korean movie industry produces 4 Cinema is a less expensive, but common and exciting entertainment form. In Korea it s specially a place for dating. 5 The ratio of domestic production is so huge, due to the generally high quality of the Korean movies and the Koreans are proud of the Korean cinema 6 There are not so many cultural experiences to substitute cinema as free time activity in Korea. For example Germans or French people spend more time to go to the opera or to theater plays than Korean people. There is not the tradition for that and not such an offer than in Europe. 7 There is a wide range of movies, they are so different that everybody should find something interesting for him/her. Cinema ist the main leisure attraction in Korea and the Koreans like to find Korean topics in the movies. Usually Korean movies are well made, too. 8 Koreans seem to like cinema and our national movies guarantee good quality, so people go to watch them. Koreans are also proud of the industry and it s success. 9 There are great movies to see, so the people go to watch them. They like to talk about them and feel like being a part of the success story of the Korean movie industry. 10 It seems that Koreans like movies and they are proud of the good movies from their country 11 The Koreans are enthusiastic about their movies and their movie industry. I guess they like good movies, like to support the national movies and cinema, and they are proud of it. 12 I can t give an opinion to be honest. 13 It s an art/entertainment-form everybody in Korea talks about. The industry keeps the audience interested with good and varied productions The enthusiasm is also an Asian-phenomenon when you look at Japan/Hongkong es waren mehrere Nennungen möglich Tabelle 9: Kategorien (Koreanischer Filmenthusiasmus) 88 Anzahl Nennungen Koreanisches Kino bietet interessante, gut gemachte Filme 10 Stolz auf Erfolg der Filmindustrie / Wille nationales Kino zu unterstützen Kino als favorisierte Freizeitaktivität 4 6

89 4. Thematischer Vergleich und Konzeptualisierung Is the Korean film industry development transferable? Tabelle 10: No. 2 No. It has to do with the great movies of the Korean filmmakers 3 No, that is not possible. It was the right model for the right time and place 6 Perhaps, but it will be difficult to transfer 8 Why that should be not possible for other nations. They can learn from the Korean industry story 11 No. It s a local development that has to do with quite a lot of things. 12 Yes, I don t see why not. We ve seen screen quota s used in places like France, and cinema is very often used to reflect and create a national identity. However - this is a process that requires commitment and investment and many national industries have moved away from the long term investment in cinema and chase the big hits something that the Korean film industry has been in danger of swaying towards over the last five or six years. 13 Just for learning from it, sure. However, the model is to specificly related to Korea and a broad factor-mixture. The government policies and the general government support are essential factors, which should be transferable for other countries Tabelle 11: Kategorien Anzahl Nennungen Yes 3 Maybe 2 No 8 3) New Korean Cinema Specific characteristics of the New Korean Cinema? Tabelle 12: No. 1 Style, national based stories and great directors and actors. 2 The new korean directors supported by the KOFIC brought the success. 3 Great visuals and spezial, often violent stories with local elements 4 Variety / Manpower / Talented filmmakers / A proud audience 89

90 ANLAGE ZU: ISBN / ISSN New Cinema Movements take place everywhere in the world. It always has to do with great directors, who have an clear artistic vision. 6 The modern look of the movies is important / they deal with Korean themes / connect fun at the one and good stories at the other hand. 7 I guess it s much about genres. Korean Horror and Thriller movies are very successful nationally and internationally.there are many good directors and producers in Korea and cause they get support and freedom in their creating process the national film industry is in good shape. 8 High production quality / very good directors and stuff / special visuals. 9 Korean topics in the movies, interesting stories. 10 Good working star-system / well structured industry / movies tend to be violent. 11 Modern, visual breathtaking cinema / big movie stars in asia (successful star system). In the beginning the screen-quota-system helped a lot to stabilize the market and state incentives as well as the support of KOFIC are still important factors. 12 In terms of typifying the output of the filmmakers I think this was initially characterised by a very good understanding of film in a broad sense productionwise and writing wise. / Not only did the initial wave of films in the early 2000s interest genre fans but NKC also appeared to be extremely cutting edge as Korean filmmakers were seen to be pushing boundaries. / I think that a large number of films have an inbuilt market due to their use of genre and this has been exploited by marketing which hits all of the right buttons. That s from a sales point of view. / With regards to the overseas markets, Korean films are again generally very accessible. While there s something fresh about the best of Korean films, for newcomers they re never very far away from something they ve seen before, so they re comfortably familiar even when adding their own unique elements. 13 range of different movies (they are very varied in style, story, etc.) / strong visuals in general (often very glossy)/ technically convincing cinema Tabelle 13: Charakeristika des NKC 90 Anzahl Nennungen Enthusiastisches/ stolzes Publikum 1 Vielfalt 1 Gut strukturierte Industrie 2 Genre-Mix 2 Hohe Produktionsstandards 2 Gewalt 3 Staatlicher Support (KOFIC) 3

91 4. Thematischer Vergleich und Konzeptualisierung Charakeristika des NKC Anzahl Nennungen Interessante/spannende Stories 3 Koreanische Themen 4 Talentierte Schauspieler 5 Talentiere Regisseure 6 Visueller Einfalsreichtum/Stil 6 es waren mehrere Nennungen möglich Tabelle 14: Charakteristika Durchschnittliche Punktevergabe Ironie Ø 2,38 Konfuzianische Werte Ø 2,54 Schwarzer Humor Ø 2,85 Plötzliche Stimmungswechsel Ø 3,31 Starkult (Schauspieler) Ø 3,31 Explizite Gewaltdarstellung Ø 3,77 Starkult (Regisseure) Ø 3,85 Melodramatik Ø 4,08 Koreanische Themen/Motive Ø 4,08 Genre-Mix Ø 4,31 Visueller Einfallsreichtum Ø 4,54 Does the New Korean Cinema stand for a spezial mainstream/arthousecombination? Tabelle 15: No. 1 Yes, many directors manage it well to combine these elements. 2 Yes 3 Yes, sure. For example Park Chan-Wooks movies combine in a wonderful way arthouse and mainstream. It s dark, it s fun and interesting to watch for many reasons. 4 Yes 5 There is nothing special about this 6 No 91

92 ANLAGE ZU: ISBN / ISSN Yes. Often you can find different elements together mixed 8 I say yes to this 9 NKC often has a good mixture, yes. 10 Yes. It s entertaining cinema, but many movies work in some way for critics and festivals too. 11 Yes 12 I would say that this was initially one of its key strengths. It s something that faded with time and the two seem to have become a little more seperated again, although a handful of filmmakers have managed to keep that balance. Korean filmmakers appear to be keenly aware of their markets and so this seems to in many cases be a conscious decision to walk this line while a Hong Sang-soo film may play almost exclusively to the arthouse crowd rather than the mainstream, a Bong Joon-ho film such as Mother or The Host may play to both. 13 From 1996 until about 2000 the NKC managed this combination in a specific way After 2000 you can find this great mix only in the work of some directors like Bong or Park. Tabelle 16: Spezielle Arthouse/Mainstream- Kombination Anzahl Nennungen Yes 11 No 2 Three particularly important/trend-setting for the New Korean Cinema Tabelle 17: No. Film 1 Film 2 Film 3 1 The Host JSA Memories of Murder add. Film / add. comment Memories of Murder is the most important (in my view) 2 Oldboy My Sassy Girl The Host 3 Oldboy The Host JSA Add. Film: The Man from Nowhere 4 The Host Oldboy Shiri 5 The Day a Pig Fell Into the Well Shiri Marriage Story 6 The Host My Wife is a Gangster 92 Oldboy My Wife is a Gangster was the first Korean film which remakerights were sold to Hollywood

93 4. Thematischer Vergleich und Konzeptualisierung No. Film 1 Film 2 Film 3 7 Taegukgi Memories of Murder 8 The Host Memories of Murder JSA JSA 9 Shiri Friend Peppermint Candy 10 JSA Memories of Murder 93 Oldboy 11 The Host Shiri My Sassy Girl 12 My Sassy Girl Christmas in August 13 Memories of Murder Shiri Oldboy Friend Add. Film: My Sassy Girl add. Film / add. comment My Sassy Girl: A massive hit in Korea and Asian territories, MSG was a powerhouse hit it didn t only make lots of money but it established Korean romcoms and teen comedies as cutting edge and cool. Christmas In August: Released around the start of the NKC this melodrama might not be massively well-known outside of Korea but it has been enormously influential, particularly in the years surrounding its release. Korean melodramas are often the unsung heros of the NKC but they account for a massive amount of its success across Asia. Shiri: Between this and Park Chan-wook s J.S.A. the tensions between North and South Korea were transformed into two very different films but box-office gold. While Shiri is not the strongest Korean film made at this time, it hit every point that it aimed to slick, high production values (compared to previous Korean output), a popular cast, marketable story Shiri is a sign of the NKC machine begining to work.

94 ANLAGE ZU: ISBN / ISSN Tabelle 18: Filmtitel Entstehungsjahr Anzahl Nennungen The Man from Nowhere Christmas in August Peppermint Candy Taegukgi My Wife is a Gangster Marriage Story The Day a Pig Fell Into the Well Friend My Sassy Girl JSA Shiri Memories of Murder Oldboy The Host Tabelle 19: Mehrfachnennungen von Regisseuren: Park Chan-Wook : Oldboy + JSA Bong Joon-Ho : The Host + Memories of Murder Kang Je-Kyu : Shiri + Taegukgi 4) Director Park Chan-Wook and the New Korean Cinema Significance of director Park Chan-Wook for the New Korean Cinema Tabelle 20: Rating-range: 1 : not significant 5 : very significant 3 / 5 / 5 / 4 5 / 3 / 5 / 4 / 5 / 3 / 4 / 4 / 5 / 5 Average rate : Ø 4,27 94

95 4. Thematischer Vergleich und Konzeptualisierung Association with the films of director Park Chan-Wook? Tabelle 21: No. 1 Uniqueness 2 New experiences 3 Originality / He (the director) knows how to mix Arthouse and Commercial cinema in a genuine way. 4 Stylish / Violence / Genius 5 Violence / Blood 6 Success abroad / style 7 Violence / high style 8 Unorthodox story / visuals 9 Violence 10 Revenge / style 11 Perfect visuals / brutality 12 Beautiful visuals and a black sense of humour. 13 Stylish / intense / cinephil Tabelle 22: Assoziationen mit den Filmen des Regisseurs Park Chan-Wook Anzahl Nennungen Erfolg im Ausland 1 Cinephil 1 Intensiv 1 Schwarzer Humor 1 Genie 1 Arthouse-Mainstream-Mix 1 Originalität (Uniqueness / New experiences / unorthodox story) 4 Gewalt / Brutalität 6 Style (Visuals / Style) 8 es waren mehrere Nennungen möglich 95

96 ANLAGE ZU: ISBN / ISSN Three important movies of this director Tabelle 23: No. Film 1 Film 2 Film 3 add. Film 1 JSA Oldboy Lady Vengeance 2 Oldboy Mr. Vengeance Lady Vengeance 3 Oldboy JSA Lady Vengeance 4 Oldboy JSA Mr. Vengeance 5 JSA Mr. Vengeance Oldboy 6 Oldboy JSA Thirst 7 JSA Mr. Vengeance Oldboy 8 Oldboy Mr. Vengeance JSA 9 JSA Mr. Vengeance Oldboy 10 JSA Oldboy 11 Oldboy JSA Mr. Vengeance 12 JSA Oldboy Mr. Vengeance 13 Mr. Vengeance Oldboy JSA Add.: Thirst Tabelle 24: Filmtitel Entstehungsjahr Anzahl Nennungen Thirst Lady Vengeance (Titel: Sympathy for Lady Vengeance) Mr. Vengeance (Titel: Sympathy for Mr. Vengeance) JSA (Titel: JSA - Joint Security Area) Oldboy

97 4. Thematischer Vergleich und Konzeptualisierung Which three other Korean filmmakers (beside Park Chan-Wook) would you name as particularly relevant for the New Korean Cinema? Tabelle 25: No. Name 1 Name 2 Name 3 add. Name 1 Bong Joon-Ho Kim Ki-Duk Kim Jee-Woon 2 Bong Joon-Ho Kim Dong-Joo Oh Kim-min 3 Bong Joon-Ho Kim Ki-Duk Lee Chang-Dong 4 Bong Joon-Ho Kim Jee-Woon Kim Ki-Duk Lee Chang-Dong 5 Bong Joon-Ho Kim Jee-Woon Hong Sang-Soo 6 Lee Chang-Dong Kim Jee-Woon Kim Ki-Duk 7 Kim Ki-Duk Kim Jee-Woon Bong Joon-Ho 8 Bong Joon-Ho Hong Sang-Soo Lee Chang-Dong 9 Lee Chang-Dong Bong Joon-Ho Kim Jee-Woon 10 Bong Joon-Ho Lee Chang-Dong Kim Jee-Woon 11 Bong Joon-Ho Kim Ki-Duk Lee Chang-Dong 12 Kim Jee-Woon Bong Joon-Ho Lee Chang-Dong Kim Ki-Duk 13 Bong Joon-Ho Lee Chang-Dong Kim Ki-Duk Tabelle 26: Regisseure Anzahl Nennungen Ho Kim-Min 1 Kim Dong-Joo 1 Hong Sang-Soo 2 Kim Jee-Woon 7 Kim Ki-Duk 8 Lee Chang-Dong 9 Bong Joon-Ho 12 97

98 ANLAGE ZU: ISBN / ISSN ) Future perspectives + marketing perspectives Prospects of the future of the Korean movie industry Tabelle 27: No. 1 Having very korean themes and mixing the genres is a benefit and could be good for future developments as well 2 The Korean movie industry will have a good future. More international coproduction should help to increase international sales. 3 The korean movie industry has bright future prospects I think. 4 Hopefully positive. More countries now try to protect their own movie industries and thus more difficult for Korean movies to expand internationally. 5 We even need more support from the government. KOFIC should become an independent organization and should be free from political influence. Then the industry prospects for the industry is not bad. 6 I see good prospects. Especially with new co-production-projects with other Asian countries like China 7 The last years were difficult. I hope that everything becomes better again. 8 The prospects are not bad. Deregulation of the industry is an important point for the future. The oligopoly structure is not the best for a developed industry. The state and KOFIC have to focus more on smaller companies not only the big ones. 9 When we manage to reduce the production costs there will be a good future for the industy. 10 Nobody knows. 11 Thus has a good prospect for the Korean movie industry. 1. going global mainly due to more co-productions with CJ-Entertainment as distributor 2. developing the download market (VoD has a high potential) 12 My own opinion is that the future is healthy for the industry although they re not necessarily going to see the profit margins that they might expect given overall rise in budgets compared to productions from ten years ago. Over the last three or four years there seems to have been the re-emergence of a lot more interesting smaller Korean films, and this for me has always been where the interest lies. / Internationally the reputation of the Korean film industry continues to grow, while critics and audiences are becoming more familiar with the filmmakers, actors and themes and appear to be more open to more films than just the blockbusters. 98

99 4. Thematischer Vergleich und Konzeptualisierung 13 the indepenent-/low budget sector is still promising / the mainstream sector (the prospects are okay, but the growth potential is low) / the movies of the famous directors (Bong/Lee/Park) have an optimistic outlook Tabelle 28: Einschätzung der Zukunftsaussichten für die koreanische Filmindustrie Anzahl Nennungen Gute Zukunftsaussichten 8 Unklar 5 Schlechte Zukunftsaussichten 0 Still potential growth fields for the film industry Tabelle 29: No. 1 In the field of animated movies. We have the knowhow to produce more animated movies and with them it s easier to get foreign viewers interested in Korean movies. Animation movies made in Korea have a high potential. / attracting new people outside Korea is a perspective 2 I don t know 3 I see a growth potential in pan-asian film productions. 4 With manpower and the movie enthusiasm of the Korean people there should still be a general growth potential for the industry. 5 I don t know 6 Export of Korean movies and big Pan-Asian-Co-Productions 7 Productions with low/middle cost ranges. 8 I think that now the times for smaller films come. It s not all about big budgets anymore. We see that the independent sector still has growing potential. 9 Maybe series formats movies divided in different chapters, or international co-production. 10 In Animation films, also Indi-productions worked well last years and still have growth potential. 11 I still see growth potential in co-productions with Japan and especially China. The VoD-market is still in development and has a high potetial too. 12 Distribution in the export market. / the growth of smaller films is also very interesting and this isn t something that seems to be fully tapped into either domestically or internationally. 99

100 ANLAGE ZU: ISBN / ISSN potential is still in the independent sector / there are still huge growth possibilities in the non-pan-asian-countries Tabelle 30: Wachstumspotentiale für die koreanische Filmindustrie Anzahl Nennungen Animierte Filme 2 Internationaler Markt 4 Int. Co-Produktionen (Asian-market) 4 Independentfilmsektor 5 How could the label/brand New Korean Cinema be better positioned internationally? Tabelle 31: No. 1 More well made animation movies / more movies with great stories and scenarios will spread the brand further 2 More advertising at the international market for the best known korean directors and actors 3 I don t know 4 We can only try our best to make the brand NKC even more famous and recognizable. 5 For me it s not a brand. It needs a better definition, another term and then we need more advertisment for it. 6 No clue 7 Advertisement / more participating in festivals, maybe the KOFIC could do events like in London 8 I don t know 9 The big companies can make more advertising and sales events, maybe together with KOFIC 10 Impresssive movies with good international campaigns. 11 more advertisment / more appearence on film festivals also smaller, more specialised festivals 12 I think it s in the right place now, although the NKC has been around for a good ten years so it will be interesting to see if a new wave emerges! / 100

101 4. Thematischer Vergleich und Konzeptualisierung As a marketing term I think its still working in the way it should, although the extreme brand is still more recognised, so it would be nice to see a more rounded view of Korean films represented by distributors. However, revenge clearly sells! 13 it makes sense to push the famous director names and use them as a marketing-key for all korean movies. / Outside Asia people not differ between Korean cinema and movies from other asian countries. The main focus should be placed on ensuring that the Korean cinema is perceived as an independent and spezial national cinema. 101

102 ANLAGE ZU: ISBN / ISSN ANHANG 5: IHS SCREEN DIGEST DATENSÄTZE Die Zahlen der hier aufgeführten Tabellen stammen aus den, von der Marktforschungsgesellschaft IHS Screen Digest freundlicherweise zur Verfügung gestellten, Datensätzen zur koreanischen Filmindustrie. Es handelt sich dabei um folgende Daten des Cinema Intelligence Sevices, die in einem Abonnement bezogen werden können: Admissions, box office and average ticket prices Share of revenue by country of origin of film Cinema screens and seats South Korea: Film production URL: korea_2/view.html?start_ser=ci&start_toc=1 [ ] Ansprechpartner bei IHS Screen Digest: Tomasz Asmussen (IHS Electronics & Media Screen Digest) 102

103 5. IHS Screen Digest Datensätze IHS Screen Digest: Admissions and box office IHS. For internal use only. No portion of this publication may be reproduced, reused, or otherwise distributed in any form without prior written consent of IHS. Source: IHS from KOFIC data South Korea: admissions, box office and average ticket prices cinema admissions 000s average admisisons per head 1,01 0,94 1,05 1,01 1,20 1,34 1,93 2,26 2,56 2,89 3,04 change in admissions % -6,7-6,3 12,4-3,7 19,6 12,7 44,9 17,7 13,6 13,1 5,8 box office revenue won m , , , , , , , , , , ,0 box office revenue $m 249,3 253,3 251,6 184,5 304,0 360,0 405,3 507,5 601,6 742,0 870,3 box office revenue m 190,6 199,5 221,9 164,6 283,7 389,6 452,1 536,5 531,4 596,5 698,8 change in box office (local currency) % 2,3 6,0 16,8 8,4 40,0 12,6 28,6 21,2 13,0 18,5 4,9 average annual spending per head won 4312, , , , , , , , , , ,7 average annual spending per head $ 5,58 5,63 5,56 4,06 6,64 7,83 8,77 10,93 12,90 15,84 18,50 average annual spending per head 4,27 4,44 4,91 3,62 6,20 8,47 9,78 11,56 11,40 12,74 14, ,47 3,32 3,16 3,23 3,05 3,30 4,01 3,76 3,84 3,90 3,96 4,01 14,6-3,9-4,2 2,7-5,3 8,8 22, , , , , , , , , , , , , , ,5 896,8 847,1 995, , , , , , , ,5 844,8 785,3 609,5 607,4 749,4 801, ,1 973, , , , ,4 13,7-1,3-1,5 9,6 6,5 7,5 17, , , , , , , , , , , , ,0 22,45 22,66 18,79 17,66 20,65 23,08 26,61 25,54 26,44 27,27 28,04 28,78 17,87 16,53 12,77 12,66 15,55 16,57 20,79 19,95 20,66 21,30 21,91 22,49 Für das Jahr 2013 wurden die bereits vorliegenden offiziellen Zahlen des KOFIC verwendet (grüne Zahlen, bei 2013 den roten Zahlen handelt es sich um Zukunftsprognosen) cinema admissions Kim, Hyun-Soo (2013): Korean Film Report Review of Korean Films: The New Keys of Success. In: average admisisons per head 4,25 Korean Cinema Yearbook S. 22, 31. change in admissions 9,5 box office revenue ,8 box office revenue 1.451,8 box office revenue 1.058,8 103

104 ANLAGE ZU: ISBN / ISSN IHS Screen Digest: Share of revenue by country of origin of film IHS. For internal use only. No portion of this publication may be reproduced, reused, or otherwise distributed in any form without prior written consent of IHS. South Korea: share of revenue by country of origin of film USA % 72,4 56,3 55,0 39,0 48,8 41,3 42,0 38,7 35,0 49,6 48,8 45,8 46,9 46,7 34,1 South Korea % 20,9 23,2 25,5 21,3 35,8 32,6 49,7 47,0 46,9 51,9 58,2 60,5 44,6 42,1 48,7 46,7 48,9 58,8 China/HK % 1,0 3,3 1,0 1,4 0,3 0,5 Europe % 3,2 2,0 1,2 5,2 1,3 1,5 0,6 2,3 0,8 2,7 4,3 3,0 2,7 1,8 4,9 Japan % 1,6 1,4 1,5 1,9 1,6 1,3 others % 79,1 76,8 74,5 6,3 8,0 12,4 11,3 4,2 11,9 6,1 3,1 4,6 0,5 0,1 0,0 0,4 0,7 0,4 total % 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 100,0 Source: IHS note: based on revenues in Seoul Für das Jahr 2013 wurden die bereits vorliegenden offiziellen Zahlen des KOFIC verwendet (grüne Zahlen). Kim, Hyun-Soo (2013): Korean Film Report Review of Korean Films: The New Keys of Success. In: Korean Cinema Yearbook S USA % 36,6 South Korea % 59,1 China/HK % 0,3 Europe % 3,1 Japan % 0,7 others % 0,2 total % 100,0 104

105 5. IHS Screen Digest Datensätze IHS Screen Digest: Cinema Screens and Seats IHS. For internal use only. No portion of this publication may be reproduced, reused, or otherwise distributed in any form without prior written consent of IHS. South Korea: cinema sites, screens and seats cinema screens cinema seats change in cinema screens % -7,4-2,7 2,0 16,0 22,4 15,1 17,9 15,9 28,2 13,6 change in cinema sites % 3,2 2,8 18,3-4,8-17,6-9,7 7,9-0,3 change in cinema seats % 0,2 14,1 7,9 11,7 15,2 1,6 15,8 8,2 average seats per screen 320,6 315,0 310,0 273,2 265,0 259,0 227,0 205,1 195,5 average screens per site 1,6 1,6 1,8 1,8 2,2 3,2 4,0 4,8 5,5 average annual admissions per seat 298,2 286,5 300,3 313,6 406,8 415,5 464,9 454,2 443,9 average box office revenue won per screen 000s , , , , , , , , , , ,3 average box office revenue per screen $000s 451,6 495,7 506,3 363,9 517,0 500,0 488,9 519,4 531,4 511,4 528,1 average box office revenue per screen 000s 590,7 390,4 446,4 324,6 482,5 541,2 545,3 549,1 469,4 411,1 424,1 Source: IHS, KOFIC ,1 5,1 1,5 2,5-2,5-1,4 5,4 3,7 3,3 2,4 1,8 1,7 6,6-2,2-1,6-1,3-1,3-3,0 4,1 2,1 2,6 1,7 1,0 1,0 10,2 2,8-0,7-0,5-3,1-2,2 188,8 184,8 181,0 175,6 174,6 173,2 5,9 6,3 6,5 6,7 6,7 6,8 6,8 7,0 7,0 7,1 7,1 7,2 461,6 431,5 415,9 429,5 419,9 467, , , , , , , , , , , , ,6 564,5 545,0 447,5 412,2 496,8 565,8 621,3 577,6 581,0 587,2 595,3 602,5 449,4 397,6 304,1 295,6 374,1 406,2 485,4 451,2 453,9 458,8 465,1 470,7 Für das Jahr 2013 wurde die bereits vorliegende offizielle Zahl des KOFIC verwendet (grün Zahlen, bei den roten Zahlen handelt es sich um Zukunftsprognosen). nuber of cinema Kim, Hyun-Soo (2013): Korean Film Report Review of Korean Films: The New Keys of Success. In: Korean Cinema Yearbook S. 22) screens 2.184

106 ANLAGE ZU: ISBN / ISSN IHS Screen Digest: South Korea: Film production IHS. For internal use only. No portion of this publication may be reproduced, reused, or otherwise distributed in any form without prior written consent of IHS. South Korea: film production number of wholly national films produced number of co-productions total films produced (incl. coproductions) total investment in film production $m 0,0 79,4 74,7 36,8 62,4 109,5 133,8 218,3 279,2 297,9 319,8 463,4 516,6 309,6 250,0 284,1 312,2 investment per film produced $m 0,0 1,2 1,3 0,9 1,3 1,9 1,8 2,8 3,5 3,6 3,7 4,2 4,2 2,7 1,8 1,9 1,4 investment per head of capita $ 1,8 1,7 0,8 1,4 2,4 2,9 4,7 6,0 6,4 6,8 9,8 10,9 6,5 5,2 5,9 6,5 total investment in film production m 62,6 65,9 32,9 58,2 118,5 149,3 230,8 246,6 239,5 256,8 368,9 376,9 210,4 179,3 213,9 224,2 investment per film produced m 1,0 1,1 0,8 1,2 2,0 2,0 3,0 3,1 2,9 3,0 3,4 3,0 1,9 1,3 1,4 1,0 investment per head of capita 1,4 1,5 0,7 1,3 2,6 3,2 5,0 5,3 5,1 5,5 7,8 7,9 4,4 3,7 4,4 4,6 Source: IHS 106

107 ANHANG 6: KOREANISCHE FILME IN DEN OFFIZIELLEN WETTBEWERBEN DER FILMFESTIVALS VON BERLIN, CANNES UND VENEDIG Die Zahlen der selbst erstellten Tabelle entstammen den offiziellen Archiven der Internetpräsenzen der Filmfestivals von Berlin und Cannes. Für die Notierung der südkoreanischen Wettbewerbsfilme der Internationalen Filmfestspiele von Venedig wurden die Daten der IMDb herangezogen. Quellen (Internet): Internationale Filmfestspiele Berlin (2015): Berlinale Jahresarchive URL: _2015.html [Stand: ] Festival de Cannes (2015): Festival de Cannes Archives URL: [Stand: ] IMDb (o.j. b): Venice International Film Festival (Event History ). URL: [Stand: ] 107

108 ANLAGE ZU: ISBN / ISSN Jahr Filmfestival Berlin Filmfestival Cannes Filmfestival Venedig 1961 Mabu The Stableman (Regisseur: Kang Dae-jin) Silberner Berliner Bär Sonderpreis der Jury 1962 To The Last Day (Regisseur: Shin Sang Okk) Silberner Berliner Bär Sonderpreis der Jury 1985 The Blazing Sun (Regisseur: Hah Myung-Joong) 1986 Gilsoddeum (Regisseur: Im Kwon-Taek) 1987 The Surrogate Woman (Regisseur: Im Kwon-Taek) 1994 Passage to Buddha (Regisseur: Jang Sun-Woo) Alfred-Bauer-Preis (für einen Film der neue Perspektiven der Filmkunst eröffnet) 1995 Taebaek Mountains (Regisseur: Im Kwon-Taek) 1996 A Single Spark (Regisseur: Park Kwang-Su) 108

109 6. Koreanische Filme in den offiziellen Wettbewerben Jahr Filmfestival Berlin Filmfestival Cannes Filmfestival Venedig 1999 Gojitmal Lies (Regisseur: Jang Sun-Woo) 2000 Chunhyang (Regisseur: Im Kwon-Taek) Seom The Isle (Regisseur: Kim Ki-Duk) 2001 J.S.A. Joint Security Ares (Regisseur: Park Chan-Wook) Address Unknown (Regisseur: Kim Ki-Duk) 2002 Bad Guy (Regisseur: Kim Ki-Duk) Chihwaseon (Regisseur: Im Kwon-Taek) Award for Best Director Oasis (Regisseur: Lee Chang-Dong) Marcello Mastroianni Award an Hauptdarstellerin Moon Su-Ri (Beste schauspielerische Leistung eines Nachwuchsdarstellers/-darstellerin) 2003 A Good Lawyer s Wife (Regisseur: Im Sang-Soo) 2004 Samaria Oldboy Bin-Jip (3-Iron) (Regisseur: Kim Ki-Duk) (Regisseur Park Chan-Wook) (Regisseur: Kim Ki-Duk) Silberner Bär - Regie Grand Prix Silver Lion - Director Woman is the future of man (Hong Sang-Soo) 2005 Tale of Cinema (Regisseur: Hong Sang-Soo) Low Life (Regisseur: Im Kwon-Taek) Lady Vengeance (Regisseur: Park Chan-Wook) 109

110 ANLAGE ZU: ISBN / ISSN Jahr Filmfestival Berlin Filmfestival Cannes Filmfestival Venedig 2007 I m a Cyborg, But That s OK (Regisseur: Park Chan-Wook) Alfred-Bauer-Preis (für einen Film der neue Perspektiven der Filmkunst eröffnet) 2008 Night and Day (Regisseur: Hong Sang-Soo) Secret Sunshine (Regisseur: Lee Chang-Dong) Award for Best Actress Jeon Do-Yeon Breath (Regisseur: Kim Ki-Duk) 2009 Thirst (Regisseur: Park Chan-Wook) Jury Prize 2010 Poetry (Regisseur: Lee Chang-Dong) Award for Best Screenplay The Housemaid (Regisseur: Im Sang-Soo) 2011 Come Rain, Come Shine (Regisseur: Lee Yoon-Ki) 2012 In Another Country (Regisseur: Hong Sang-Soo) The Taste Of Money (Regisseur: Im Sang-Soo) Pieta (Regisseur Kim Ki-Duk) Golden Lion (Hauptpreis) 2013 Nobody s Daughter Haewon (Regisseur: Hong Sang-Soo) 110

111 ANHANG 7: DIE KOREANISCHE FILMINDUSTRIE IM VERGLEICH ZU ANDEREN NATIONALEN FILMINDUSTRIEN Umsatzanteile inländischer Filmproduktionen am Kinojahresgesamtumsatz in den zehn umsatzstärksten nationalen Kinomärkten in den Jahren 2000/2006/2012 Staaten Südkorea 35,1 % 64,2 % 58,8 % Großbritannien 21,0 % 29,0 % 31,9 % Frankreich 28,9 % 44,7 % 40,2 % Deutschland 12,5 % 25,7 % 18,1 % USA 93,3 % 90,7 % 91,1 % Russland 22, 0 % 23,3 % 16,1 % China 55,0 % 48,5 % Japan 31,8% 53,2 % 65,7 % Indien 86,0 % 91,5 % Australien 8,0 % 4,6 % 4,3 % Quellen: European Audivisual Observatory (2002) / (2008) / (2014): Focus 2001/2007/2013 World Film Market Trends. Marché Du Film Festival De Cannes. Les Deux- Ponts: Global Rouge. KOFIC (2008): Korean Cinema Yearbook Seoul. 111

112 ANLAGE ZU: ISBN / ISSN Durchschnittliche Anzahl an Kinobesuchen in den zehn umsatzstärksten nationalen Kinomärkten in den Jahren 2000/2006/2012 Staaten Südkorea ø 1,3 ø 3,4 ø 3,9 Großbritannien ø 2,4 ø 2,6 ø 2,8 Frankreich ø 2,8 ø 3,1 ø 3,2 Deutschland ø 1,9 ø 2,0 ø 1,8 USA ø 5,2 ø 4,8 ø 3,9 Russland ø 0,3 ø 0,6 ø 1,1 China ø 0,1 ø 0,1 ø 0,3 Japan ø 1,1 ø 1,3 ø 1,2 Indien ø 3,6 ø 3,4 ø 2,5 Australien ø 4,3 ø 4,0 ø 3,8 Quellen: European Audivisual Observatory (2002) / (2008) / (2014): Focus 2001/2007/2013 World Film Market Trends. Marché Du Film Festival De Cannes. Les Deux- Ponts: Global Rouge. KOFIC (2008): Korean Cinema Yearbook Seoul. Umsatzanteile inländischer Filmproduktionen am Kinojahresgesamtumsatz sowie die durchschnittliche Anzahl an Kinobesuchen pro Jahr in den vier Tigerstaaten Staaten Südkorea 35,8 % 58,2 % 58,8 % Hongkong 37,7 % 31,4 % 20,2 % Taiwan 17,5 % Singapur 4,0 % 112

113 7. Koreanische Filmindustrie / andere nationale Filmindustrien Staaten Südkorea ø 1,2 ø 3,4 ø 3,8 Hongkong ø 2,7 ø 2,4 ø 3,4 Taiwan ø 1,0 ø 1,1 Singapur ø 3,8 ø 3,4 ø 4,0 Quellen: European Audivisual Observatory (2002) / (2008) / (2014): Focus 2001/2007/2013 World Film Market Trends. Marché Du Film Festival De Cannes. Les Deux- Ponts: Global Rouge. KOFIC (2008): Korean Cinema Yearbook Seoul. 113

114 ANLAGE ZU: ISBN / ISSN ANHANG 8: DIE VERTEILUNG DES FILMUMSATZES AUF DIE VERSCHIEDENEN ABSATZKANÄLE Die Wertschöpfungskette einer Filmproduktion mit besonderem Augenmerk auf die finale Content-/Konsumentenebene und die möglichen Absatzkanäle zur Umsatzgenerierung Quelle: Nordicity (2013): The Economic Contribution of the Film and Television Sector in Canada. Im Auftrag der Motion Picture Association Canada, Juli 2013, S

115 8. Die Verteilung des Filmumsatzes auf die verschiedenen Absatzkanäle Umsatzverteilung von südkoreanischen Filmproduktionen von Quelle: Song Ji-Hwan (2013): Looking for Gold in the Online Film Market. In: Park H.-E. (KOFIC) (Hrsg.): Korean Cinema Today. February 2013, Vol. 15, S. 46f., S