South Korean Films - Assignment Example

South Korean Films Question 5 Virtually all South Korean films address a number of social, economic, cultural, and political issues affecting the country. In particular, South Korean films in the late 1980s onward readily address political issues and concerns related to the national history compared to other film industries (Scharia 195). Film directors in the country also appear to be deeply engrossed in discussing the political engagement of South Korea in addition to many other issues affecting its socio-political advancement and the Korean Peninsula as a whole. Many genre films, including those of Bong Jun-ho as well as those that are overtly critical realist extensively address political issues of South Korea (Scharia 195). However, the cultural and neoliberal economic policies adopted by the government in the late 1980s contributed to a near collapse of the Korean film industry. Apparently, the authoritarian regime encouraged market deregulation and state decentralization, leading to a significant reduction of state intervention in the economic affairs. The film “Oldboy” by Park Chan-wook (2003) explores the turbulent, disorderly political life of South Korea. It is also a traumatized reaction to the country’s rather tumultuous postwar political life (Buckland 217). The director depicts the protagonist, Oh Dae-su, as drunk and disrespecting law enforcement agencies. The film illustrates revenge or retribution as reflected in the actions of the protagonist. Dae-su was locked in a certain hotel room for about fifteen years, lacking a clear knowledge of the motives of his captors. The protagonist hurts himself, raves, and obviously battles insanity during his incarceration. He engages in physical training while in prison with the intent of getting revenge someday (Buckland 217). Upon his release, Dae-su discovers that he is still trapped in a web of violence and conspiracy. He falls for Mido, a good-looking sushi chef, a clear demonstration of his quest for vengeance being tied in with romance. Overall, the film “Oldboy” is a revenge story hence ought to negotiate the long history of the genre. The protagonist quickly shifts focus to discovering the person or group that imprisoned him and the possible reason for it (Buckland 218). The reasonless incarceration of the film’s hero charted at the beginning of the film is a metaphor for deliberate repression of the past ordeals, or collective blackout, in the new capitalist republic of South Korea. Besides, the widespread violence in the movie is a clear sign that political problems in South Korea are a major impediment to unity, interactions and social integration (Buckland 218). Besides, the film is a true reflection that efforts to attain political sovereignty and freedom involve fierce battle in which many people lose their lives while others sustain severe injury. The unlucky lot put under arrest by law enforcement agencies eventually serves many years of torture and imprisonment. The film “National Security”, directed by Dennis Dugan, is a film that essentially highlights the torture of Kim Geun-tae, a democracy activist. About 90 percent of this film takes place in the famous Seoul interrogation room (Scharia 195). Kim was electrocuted and waterboarded, one of the most brutal means of exterminating activists of democracy in a country widely dominated by authoritarian rulers. The film further highlights the forms of discrimination that ordinary citizens and activists endured despite electing leaders on the democratic platform as well as under the banner of liberation and democracy. Moreover, the film, like “Oldboy”, satirizes the ills and failings of the regime (Scharia 195). It also explores the most reliable platforms and avenues through which Koreans can ultimately achieve true democracy and political impartiality. The protagonist of “National Security” expresses his views on race and prejudices. Apparently, the society in which he lives is awash with discrimination and intolerance. Korea’s authoritarian administration seems to take advantage of the prevailing bigotry and injustices to advance their ostracized rule (Scharia 196). Many people, on the other hand, find it difficult to trust each other and work together because they are sharply by their respective groupings. The extensive violence that characterize the film shows that citizens of countries or territories that face dictatorial forms of leadership must rise to the occasion by employing even cruel strategies and schemes, including violence and fear, to advance their course (Scharia 196). For a country to resolve the issues of its together, it must find a way of resolving issues that citizens have with each other. The actions that unfold in the film are brutal and mind-boggling, a clear sign of the numerous historical issues between state and the people, and the unresolved conflict between the people themselves. The industry nearly lost ground even as Hollywood emerged as the key player in the Korean film market. Even the number of film enthusiasts attending movies dropped significantly with the market share of domestic films reaching its lowest point (15.9 %) in 1993. The scenario changed from mid-1990s onward as the new democratic regime established in 1993 began shifting its cultural policy. This democratic government continued implementing policies that were in line with the neoliberal globalization. Neo-liberalism sparked calls to restructure the country’s economy, resulting in trans-nationalization of virtually all domestic industries, including the Korean film industry. Moreover, the national government and domestic films are critical domestic forces that play an integral part in the formation of the country’s political policy. This policy aims to protect the sovereignty of South Korean as well as to safeguard its industries, including Korean films or cinemas. The majority of film directors began shifting their general focus by addressing more of democratic issues that impeded growth and expansion of the Korean film industry in the 1980s. The authoritarian government/regime of that period strictly controlled local film industry, adopting certain entry barriers and censorship. This regime also controlled other print and electronic media, such as newspapers and television. In 1995, the new democratic regime passed the Motion Picture Promotion Law, thereby encouraging direct investment of domestic capital into the South Korean film industry. This unprecedented growth of domestic films contributed to a significant increase in the population of viewers. The constantly changing political and cultural policies highlighted in most Korean films have helped to develop or maintain the country’s cultural identity, including Korean nationalism and traditions in domestic films. According to political and cultural policy makers, the Korean nationalism was the most significant issue during the 1980s. In the 1990s, the democratic regime embarked on the restructuring of the Korean film sector under the banner of liberalization and deregulation. The regime sought to address a number of political issues that the authoritarian government of the 70s and 80s espoused or overlooked. These challenges significantly hampered attempts of the Korean leadership to adopt deregulation and liberalization in the 1990s. They were also a major impediment to integration and realization of the country’s sovereignty. In particular, the films highlighted the shocking injustices and ill-treatment that South Korean citizens and industries faced thanks to its authoritarian regime of the 70s and 80s. The people had great desire to have a brand of leadership that recognized and respected the rights of citizens. Additionally, South Korean films underscore many challenges that political leaders face in attempting to meet grievances of the people. South Korean politicians should particularly pay attention to most of these movies because they also draw attention to both their strength and weaknesses. Apparently, politicians usually have a broad range of promises to the electorate, especially during political campaigns. Some of their promises significantly contribute to their downfall. Bong Jun-ho’s film is a typical example of Korean movies that highlight a wide range of political issues affecting the country at present. In addition, the films highlight various political challenges the country endured more than two decades ago at the cruel hands of authoritative, dictatorial leaders. Bong’s movies employ abrasive humor to highlight the failings of past leadership and areas that need serious improvement. For instance, a number of Korean citizens still encounter oppression in the hands of fellow Koreans and the country’s leadership. Although most of the people advocate as well as campaign for the country’s democracy, discrimination and prejudice are still commonplace. The political elite is particularly to blame for the many problems affecting ordinary citizens even after promising them democratic, impartial leadership that encourage justice, fairness, and equitable distribution of resources to meet the needs of all. Citizens who voice their concerns about bad leadership, mismanagement of public resources, widespread discrimination, and preferential treatment often become big enemies of the state. The law enforcement officials subject them to all manner of torment and persecution while the regime is clinging to power for several decades. In conclusion, many Korean films (including Oldboy and National Security) seek to address many social, economic, cultural, and political issues affecting the country. In particular, South Korean films in the late 1980s onward readily address political issues and concerns related to the national history compared to other film industries (Buckland 217). However, the cultural and neoliberal economic policies adopted by the government in the late 1980s led the Korean film industry to near collapse. The authoritarian regime encouraged market deregulation and state decentralization, leading to a significant reduction of state intervention in the economic affairs. Film directors in the country seem to be deeply engrossed in discussing the political engagement of South Korea in addition to many other issues affecting socio-political advancement of the country and the Korean Peninsula as a whole (Buckland 217). Many genre films, including those of Bong Jun-ho and those that are overtly critical realist extensively address political issues of South Korea. Works Cited Buckland, Warren. Puzzle Films: Complex Storytelling in Contemporary Cinema. Chichester, West Sussex, U.K: Wiley-Blackwell, 2009. Print. Scharia, David. Judicial Review of National Security. , 2015. Print. Read More