Burn the Stage: The Movie | |
---|---|
Hangul | 번 더 스테이지: 더 무비 |
Revised Romanization | Beon Deo Seuteiji: Deo Mubi |
Directed by | Park Jun-soo |
Produced by | Yoon Ji-won |
Starring | |
Music by | BTS |
Distributed by | Trafalgar Releasing |
| |
85 minutes | |
Country | South Korea |
Language | Korean |
Box office | $18.5 million |
Burn the Stage: The Movie (Hangul: 번 더 스테이지: 더 무비; RR: Beon Deo Seuteiji: Deo Mubi) is a film documenting the behind the scenes of South Korean boy bandBTS' 2017 The Wings Tour that drew in more than half a million fans in 19 different cities around the world. It is directed by Park Jun Soo and produced by Yoon Jiwon. It was released on November 15, 2018, and its distribution was handled by Trafalgar Releasing.[1]
Tickets became available for pre-order on October 22, and the movie was released in theaters on November 15, 2018, for a limited time at select theaters.[2] The trailer for the film was released on October 23, 2018.[3]
Due to popular demand it re-entered theaters in select countries on December 5 and 6, 2018.[4] On its second run it beat One Direction's attendance record for an event cinema release after reaching two million ticket sales.[5]
The film was released on YouTube Premium on January 18, 2019.[6]
- 4Release
Plot[edit]
The 85-minute film features live performances, award show highlights, off-stage moments, and interviews with the seven members of BTS.[7] It goes behind-the-scenes of the BTS Wings Tour to reveal the story of the band's rise to fame.[8]
The film opens with footage of BTS-designed BT21 characters, and seconds later fans are heard chanting 'BTS' and waving customised fandom light sticks while the members perform on stage. Throughout the film BTS talk about the hardships and mundane side of stardom, as well as insecurities they have faced along the way and their wish to continue growing and improving as artists.[9]
Adaptation[edit]
The film was an adaptation of the 2018 YouTube PremiumdocuseriesBurn the Stage. There were eight episodes in total, running approximately thirty minutes each.[10] Additionally, the first episode of the show became the 10th most watched non-music video on youtube in Korea.[11]
N° | Episodes | Date |
---|---|---|
1 | I'd do it all | March 28, 2018 |
2 | You already have the answer | |
3 | Just give me a smile | April 4, 2018 |
4 | It's on you and I | April 11, 2018 |
5 | I can't stop | April 18, 2018 |
6 | Moonchild | April 25, 2018 |
7 | Best Of Me | May 2, 2018 |
8 | I NEED YOU | May 9, 2018 |
Cast[edit]
The cast was the members of BTS, with backstage personnel appearing at certain times.[12]
Release[edit]
Box office[edit]
On opening day in South Korea it collected 72,760 movie goers, becoming the first live-action movie by an idol to rank in the top ten box office coming in at number five.[13] Including the other three days left for the box office week it sold 200,000 total tickets coming in overall at four for best selling releases of the week.[14] It earned $1.77 million the first three days of sales.[15]
In the United States it accumulated $1.2 million on opening day for a total of $3.54 million over the three day weekend, breaking the record for highest grossing event cinema musical production which was previously set in 2014 by the band One Direction. It ranked at number ten in the box office despite selling at only 620 locations compared to the 2,000-4,000 locations for the other top ten sellers.[16]
In Japan it came in at sixth in the box office during opening week accumulating a total of $1,343,031.[17] In the UK it also came in at sixth making approximately $830,000, and in both Germany and Austria it made $800,000. In the Philippines and Indonesia it sold more than 100,000 tickets,[18] and in Australia grossed $403,250 and came in at fourth.[17]
Pre-orders for the tickets worldwide reached a count of nearly one million.[1] It was released in 79 countries and grossed a total of $14 million in the first week.[18] Upon popular demand it was released again in theaters and made a total of $18.5 million.[19]
Critical response[edit]
Siddhant Adlakha of Polygon stated the film delivers on its primary focus, which is showcasing BTS in their element and showing what it's like for them during concerts and their normal day-to-day life. He reported the one notable letdown is that it avoids the performance aspect and makes it feel like it’s building to a musical climax that never arrives.[20]
Gulf News stated the movie was able to show the boys' bond with each other, all the injuries and hardships, and that despite the pressure they may be under they are still able to have fun.[8]MensXP reported through the movie fans got to see what went behind a BTS performance, and that the movie was a 'breath of fresh air'.[21]
Watch Korean Movies 18+ Online
CelebMix called Burn the Stage: The Movie a 'heart-warming film that shows that behind the non-stop touring and hectic lifestyles that Korean idols live, [there] are seven normal boys with a passion for music, a passion for performing, the biggest gratitude for their ARMYS.'[22]
Release history[edit]
Date | Country | Ref |
---|---|---|
November 15, 2018 | Various | [23] |
November 25, 2018 | India | [24] |
References[edit]
- ^ abHerman, Tamar (15 November 2018). 'BTS' 'Burn the Stage' Movie Opens Worldwide, Sells Nearly 1M Pre-Sale Tickets'. Billboard. Retrieved 16 November 2018.
- ^Dela Paz, Maggie (16 October 2018). 'BTS Sets Premiere Date for Burn the Stage: The Movie'. comingsoon. Retrieved 16 November 2018.
- ^'BTS (방탄소년단) 'Burn the Stage: the Movie' Official Trailer'. BANGTANTV (Big Hit Entertainment). Retrieved 16 November 2018 – via YouTube.
- ^Clarke, Stewart (23 November 2018). 'BTS' 'Burn the Stage' Gets an Encore in Cinemas Around the World (EXCLUSIVE)'. Variety. Retrieved 23 November 2018.
- ^Clarke, Stewart (11 December 2018). 'BTS' 'Burn the Stage' Movie Claims Biggest-Ever Event Cinema Box Office Haul'. Variety. Retrieved 11 December 2018.
- ^'BTS 다큐 영화, 유튜브 오리지널 콘텐츠로 본다'. The Science Monitor (in Korean). 15 January 2019. Retrieved 15 January 2019.
- ^Lau, Evelyn (12 November 2018). 'BTS film 'Burn the Stage: The Movie' coming to UAE cinemas'. thenational. Retrieved 16 November 2018.
- ^ abGlasby, Taylor (11 November 2018). 'K-Pop stars BTS ready to 'Burn The Stage''. Gulf News. Retrieved 16 November 2018.
- ^Khouri, Samar (16 November 2018). ''Burn The Stage' review: Inside BTS' rise in K-Pop'. Gulf News. Retrieved 16 November 2018.
- ^'BTS: Burn the Stage' (in Korean and English). Retrieved 15 November 2018 – via YouTube.
- ^'유튜브 글로벌 K-POP 뮤직비디오 순위'. The Science Monitor (in Korean). 19 December 2018. Retrieved 5 January 2019.
- ^Boyle, Kelli (15 November 2018). 'The Tweets About The 'Burn The Stage' Movie Are Hype Because It's Even Better Than Expected'. Elite Daily. Retrieved 17 November 2018.
- ^'방탄소년단, 극장서도 SM·YG 이겼다…'번 더 스테이지: 더 무비' 첫날 7만 동원'. NewsPim (in Korean). 16 November 2018. Retrieved 16 November 2018.
- ^Cho, YeonGyeong (18 November 2018). '[박스오피스IS] '스크린까지 접수' 톱4 '번더스테이지' BTS의 힘'. News Joins (in Korean). Retrieved 18 November 2018.
- ^Kil, Sonya (18 November 2018). 'Korea Box Office: 'Fantastic Beasts' Beats 'Bohemian Rhapsody' and Burns 'BTS''. Variety. Retrieved 19 November 2018.
- ^Amos, Jim (18 November 2018). 'BTS Breaks The Box Office Bank With 'Burn The Stage: The Movie''. Forbes. Retrieved 18 November 2018.
- ^ ab'Burn the Stage: The Movie'. Box Office Mojo. 18 November 2018. Retrieved 22 November 2018.
- ^ abClarke, Stewart (19 November 2018). 'BTS Concert Movie Tops One Direction to Set Event-Cinema Admissions Record'. Variety. Retrieved 20 November 2018.
- ^Kelley, Caitlin (7 December 2018). 'BTS Made $18.5 Million At The Box Office With 'Burn The Stage: The Movie''. Forbes. Retrieved 7 December 2018.
- ^Adlakha, Siddhant (28 November 2018). 'The BTS concert film Burn the Stage digs deep into a phenomenon'. Polygon. Retrieved 29 November 2018.
- ^Paulose, Marina (28 November 2018). 'I Watched BTS' Movie 'Burn The Stage' With Hundreds Of Diehard Fans & It Was Unbelievable'. MensXP. Retrieved 29 November 2018.
- ^Nicholas, Ellie (15 November 2018). 'BTS – Burn The Stage: an insight into the life of the world's biggest boyband'. CelebMix. Retrieved 29 November 2018.
- ^Actman Becker, Hollee. 'What Countries Will Show 'Burn The Stage'? Here's Where You Can See The BTS Movie So Far'. Elite Daily. Retrieved 20 November 2018.
- ^Bhatt, Prakruti (17 November 2018). 'Here's why the release of BTS' film Burn The Stage was delayed in India'. Mumbai Mirror. Retrieved 20 November 2018.
External links[edit]
- Burn the Stage: The Movie on IMDb
- Burn the Stage: The Movie at Rotten Tomatoes
- Burn the Stage: The Movie at Box Office Mojo
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Cinema of South Korea | |
---|---|
No. of screens | 2,492 (2015)[1] |
• Per capita | 5.3 per 100,000 (2015)[1] |
Main distributors | CJ E&M (21%) NEW (18%) Lotte (15%)[2] |
Produced feature films (2015)[3] | |
Total | 269 |
Number of admissions (2015)[4] | |
Total | 217,300,000 |
National films | 113,430,600 (52%) |
Gross box office (2015)[4] | |
Total | ₩1.59 trillion |
National films | ₩830 billion (52%) |
The cinema of South Korea refers to the film industry of South Korea from 1945 to present. South Korean films have been heavily influenced by such events and forces as the Japanese occupation of Korea, the Korean War, government censorship, business sector, globalization, and the democratization of South Korea.[5][6][7][8]
The golden age of South Korean cinema in the mid-20th century produced what are considered two of the best South Korean films of all time, The Housemaid (1960) and Obaltan (1961),[9] while the 2010s produced the country's highest-grossing films, including The Admiral: Roaring Currents (2014) and Along with the Gods: The Two Worlds (2017).[10]
South Korean films that have received widespread international attention and accolades include the cult hitOldboy (2003)[11] and the English-language film Snowpiercer (2013).[12]
- 1History
- 4Film festivals
- 4.2South Korea at international festivals
History[edit]
Liberation and war (1945-1953)[edit]
With the surrender of Japan in 1945 and the subsequent liberation of Korea, freedom became the predominant theme in South Korean cinema in the late 1940s and early 1950s.[5] One of the most significant films from this era is director Choi In-gyu's Viva Freedom! (1946), which is notable for depicting the Korean independence movement. The film was a major commercial success because it tapped into the public's excitement about the country's recent liberation.[13]
However, during the Korean War, the South Korean film industry stagnated, and only 14 films were produced from 1950 to 1953. All of the films from that era have since been lost.[14] Following the Korean War armistice in 1953, South Korean president Syngman Rhee attempted to rejuvenate the film industry by exempting it from taxation. Additionally foreign aid arrived in the country after the war that provided South Korean filmmakers with equipment and technology to begin producing more films.[15]
Golden age (1955-1972)[edit]
Though filmmakers were still subject to government censorship, South Korea experienced a golden age of cinema, mostly consisting of melodramas, starting in the mid-1950s.[5] The number of films made in South Korea increased from only 15 in 1954 to 111 in 1959.[16]
One of the most popular films of the era, director Lee Kyu-hwan's now lost remake of Chunhyang-jeon (1955), drew 10 percent of Seoul's population to movie theaters[15] However, while Chunhyang-jeon re-told a traditional Korean story, another popular film of the era, Han Hyung-mo's Madame Freedom (1956), told a modern story about female sexuality and Western values.[17]
South Korean filmmakers enjoyed a brief freedom from censorship in the early 1960s, between the administrations of Syngman Rhee and Park Chung-hee.[18]Kim Ki-young's The Housemaid (1960) and Yu Hyun-mok's Obaltan (1961), now considered among the best South Korean films ever made, were produced during this time.[9] Kang Dae-jin's The Coachman (1961) became the first South Korean film to win an award at an international film festival when it took home the Silver Bear Jury Prize at the 1961 Berlin International Film Festival.[19][20]
When Park Chung-hee became acting president in 1962, government control over the film industry increased substantially. Under the Motion Picture Law of 1962, a series of increasingly restrictive measures was enacted that limited imported films under a quota system. The new regulations also reduced the number of domestic film-production companies from 71 to 16 within a year. Government censorship targeted obscenity, communism, and unpatriotic themes in films.[21][22]
Nonetheless, the Motion Picture Law's limit on imported films resulted in a boom of domestic films. South Korean filmmakers had to work quickly to meet public demand, and many films were shot in only a few weeks. During the 1960s, the most popular South Korean filmmakers released six to eight films per year. Notably, director Kim Soo-yong released ten films in 1967, including Mist, which is considered to be his greatest work.[19]
In 1967, South Korea's first animated feature film, Hong Kil-dong, was released. A handful of animated films followed including Golden Iron Man (1968), South Korea's first science-fiction animated film.[19]
Censorship and propaganda (1973–1979)[edit]
Government control of South Korea's film industry reached its height during the 1970s under President Park Chung-hee's authoritarian 'Yusin System.' The Korean Motion Picture Promotion Corporation was created in 1973, ostensibly to support and promote the South Korean film industry, but its primary purpose was to control the film industry and promote 'politically correct' support for censorship and government ideals.[23] According to the 1981 International Film Guide, 'No country has a stricter code of film censorship than South Korea – with the possible exception of the North Koreans and some other Communist bloc countries.'[24]
Only filmmakers who had previously produced 'ideologically sound' films and who were considered to be loyal to the government were allowed to release new films. Members of the film industry who tried to bypass censorship laws were blacklisted and sometimes imprisoned.[25] One such blacklisted filmmaker, the prolific director Shin Sang-ok, was kidnapped by the North Korean government in 1978 after the South Korean government revoked his film-making license in 1975.[26]
The propaganda-laden movies (or 'policy films') produced in the 1970s were unpopular with audiences who had become accustomed to seeing real-life social issues onscreen during the 1950s and 1960s. In addition to government interference, South Korean filmmakers began losing their audience to television, and movie-theater attendance dropped by over 60 percent from 1969 to 1979.[27]
Films that were popular among audiences during this era include Yeong-ja's Heydays (1975) and Winter Woman (1977), both box office hits directed by Kim Ho-sun.[26]Yeong-ja's Heydays and Winter Women are classified as 'hostess films,' which are movies about prostitutes and bargirls. Despite their overt sexual content, the government allowed the films to be released, and the genre was extremely popular during the 1970s and 1980s.[22]
Recovery (1980–1996)[edit]
In the 1980s, the South Korean government began to relax its censorship and control of the film industry. The Motion Picture Law of 1984 allowed independent filmmakers to begin producing films, and the 1986 revision of the law allowed more films to be imported into South Korea.[21]
Meanwhile, South Korean films began reaching international audiences for the first time in a significant way. Director Im Kwon-taek's Mandala (1981) won the Grand Prix at the 1981 Hawaii Film Festival, and he soon became the first Korean director in years to have his films screened at European film festivals. His film Gilsoddeum (1986) was shown at the 36th Berlin International Film Festival, and actress Kang Soo-yeon won Best Actress at the 1987 Venice International Film Festival for her role in Im's film, The Surrogate Woman.[28]
In 1988, the South Korean government lifted all restrictions on foreign films, and American film companies began to set up offices in South Korea. In order for domestic films to compete, the government once again enforced a screen quota that required movie theaters to show domestic films for at least 146 days per year. However, despite the quota, the market share of domestic films was only 16 percent by 1993.[21]
The South Korean film industry was once again changed in 1992 with Kim Ui-seok's hit film Marriage Story, released by Samsung. It was the first South Korean movie to be released by business conglomerate known as a chaebol, and it paved the way for other electronics chaebols to enter the film industry, using an integrated system of financing, producing, and distributing films.[29]
Renaissance (1997–present)[edit]
As a result of the 1997 Asian financial crisis, many chaebols began to scale back their involvement in the film industry. However, they had already laid the groundwork for a renaissance in South Korean film-making by supporting young directors and introducing good business practices into the industry.[29] 'New Korean Cinema,' including glossy blockbusters and creative genre films, began to emerge in the late 1990s and 2000s.[6]
South Korean cinema saw domestic box-office success exceeding that of Hollywood films in the late 1990s largely due to screen quota laws that limited the public showing foreign films.[30] First enacted in 1967, South Korea's screen quota placed restrictions on the number of days per year that foreign films could be shown at any given theater—garnering criticism from film distributors outside South Korea as unfair. As a prerequisite for negotiations with the United States for a free-trade agreement, the Korean government cut its annual screen quota for domestic films from 146 days to 73 (allowing more foreign films to enter the market).[31] In February 2006, South Korean movie workers responded to the reduction by staging mass rallies in protest.[32] According to Kim Hyun, 'South Korea's movie industry, like that of most countries, is grossly overshadowed by Hollywood. The nation exported US$2 million-worth of movies to the United States last year and imported $35.9 million-worth'.[33] 2017 studies by Parc and Messerlin & Parc described several consequences of the screen-quota cut.[34]
Visio 2013 professional trial download. One of the first blockbusters was Kang Je-gyu's Shiri (1999), a film about a North Korean spy in Seoul. It was the first film in South Korean history to sell more than two million tickets in Seoul alone.[35]Shiri was followed by other blockbusters including Park Chan-wook's Joint Security Area (2000), Kwak Jae-yong's My Sassy Girl (2001), Kwak Kyung-taek's Friend (2001), Kang Woo-suk's Silmido (2003), and Kang Je-gyu's Taegukgi (2004). In fact, both Silmido and Taegukgi were seen by 10 million people domestically—about one-quarter of South Korea's entire population.[36]
South Korean films began attracting significant international attention in the 2000s, due in part to filmmaker Park Chan-wook, whose movie Oldboy (2003) won the Grand Prix at the 2004 Cannes Film Festival and was praised by American directors including Quentin Tarantino and Spike Lee, the latter of whom directed the remake Oldboy (2013).[11][37]
Director Bong Joon-ho's The Host (2006) and later the English-language film Snowpiercer (2013), are among the highest-grossing films of all time in South Korea and were praised by foreign film critics.[38][12][39]Yeon Sang-ho's Train to Busan (2016), also one of the highest-grossing films of all time in South Korea, became the second highest-grossing film in Hong Kong in 2016.[40]
Highest-grossing films[edit]
The Korean Film Council has published box office data on South Korean films since 2004. As of July 2018, the top ten highest-grossing domestic films in South Korea since 2004 are as follows.[38]
- The Admiral: Roaring Currents (2014)
- Along with the Gods: The Two Worlds (2017)
- Ode to My Father (2014)
- Veteran (2015)
- The Thieves (2012)
- Miracle in Cell No.7 (2013)
- Assassination (2015)
- Masquerade (2012)
- A Taxi Driver (2017)
- Train to Busan (2016)
Film awards[edit]
South Korea's first film awards ceremonies were established in the 1950s, but have since been discontinued. The longest-running and most popular film awards ceremonies are the Grand Bell Awards, which were established in 1962, and the Blue Dragon Film Awards, which were established in 1963. Other awards ceremonies include the Baeksang Arts Awards, the Korean Association of Film Critics Awards, and the Busan Film Critics Awards.[41]
Film festivals[edit]
In South Korea[edit]
Founded in 1996, the Busan International Film Festival is South Korea's major film festival and has grown to become one of the largest and most prestigious film events in Asia.[42]
South Korea at international festivals[edit]
The first South Korean film to win an award at an international film festival was Kang Dae-jin's The Coachman (1961), which was awarded the Silver Bear Jury Prize at the 1961 Berlin International Film Festival.[19][20] The tables below list South Korean films that have since won major international film festival prizes.
Berlin International Film Festival[edit]
Year | Award | Film | Recipient[43] |
---|---|---|---|
1961 | Silver Bear Jury Prize | The Coachman | Kang Dae-jin |
1962 | To the Last Day | Shin Sang-ok | |
1964 | Alfred Bauer Prize | Hwa-Om-Kyung | Jang Sun-woo |
2004 | Silver Bear for Best Director | Samaritan Girl | Kim Ki-duk |
2005 | Honorary Golden Bear | N/A | Im Kwon-taek |
2007 | Alfred Bauer Prize | I'm a Cyborg, But That's OK | Park Chan-wook |
2011 | Golden Bear for Best Short Film | Night Fishing | Park Chan-wook, Park Chan-kyong |
Silver Bear for Best Short Film | Broken Night | Yang Hyo-joo | |
2017 | Silver Bear for Best Actress | On the Beach at Night Alone | Kim Min-hee |
Cannes Film Festival[edit]
Year | Award | Film | Recipient[44] |
---|---|---|---|
2002 | Best Director | Chi-hwa-seon | Im Kwon-taek |
2004 | Grand Prix | Oldboy | Park Chan-wook |
2007 | Best Actress | Secret Sunshine | Jeon Do-yeon |
2009 | Prix du Jury | Thirst | Park Chan-wook |
2010 | Best Screenplay Award | Poetry | Lee Chang-dong |
Prix Un Certain Regard | Hahaha | Hong Sang-soo | |
2011 | Arirang | Kim Ki-duk | |
2013 | Short Film Palme d'Or | Safe | Moon Byoung-gon |
2019 | Palme d'Or | Parasite | Bong Joon-ho |
Locarno Festival[edit]
Year | Award | Film | Recipient[45] |
---|---|---|---|
1989 | Golden Leopard | Why Has Bodhi-Dharma Left for the East? | Bae Yong-kyun |
2013 | Best Direction Award | Our Sunhi | Hong Sang-soo |
2015 | Golden Leopard | Right Now, Wrong Then |
Venice Film Festival[edit]
Year | Award | Film | Recipient[46] |
---|---|---|---|
1987 | Best Actress | The Surrogate Woman | Kang Soo-yeon |
2002 | Silver Lion | Oasis | Lee Chang-dong |
2004 | 3-Iron | Kim Ki-duk | |
2012 | Golden Lion | Pietà |
Tokyo International Film Festival[edit]
Year | Award | Film | Recipient[47] |
---|---|---|---|
1987 | FIPRESCI Prize | The Man with Three Coffins | Lee Jang-ho |
1992 | Grand Prix | White Badge | Chung Ji-young |
Best Director | |||
1998 | Gold Award | Spring in My Hometown | Lee Kwang-mo |
1999 | Special Jury Prize | Rainbow Trout | Park Jong-won |
2000 | Special Jury Prize | Virgin Stripped Bare by Her Bachelors | Hong Sang-soo |
Asian Film Award - Special Mention | |||
2001 | Best Artistic Contribution Award | One Fine Spring Day | Hur Jin-ho |
2003 | Asian Film Award | Memories of Murder | Bong Joon-ho |
Asian Film Award - Special Mention | Jealousy Is My Middle Name | Park Chan-ok | |
2004 | Best Director | The President's Barber | Im Chan-sang |
Audience Award | |||
Asian Film Award | Possible Changes | Min Byeong-guk | |
Asian Film Award - Special Mention | Springtime | Ryu Jang-ha | |
2009 | Asian Film Award | A Brand New Life | Ounie Lecomte |
2012 | Special Jury Prize | Juvenile Offender | Kang Yi-Kwan |
Best Actor | Seo Young-Joo | ||
2013 | Audience Award | Red Family | Lee Ju-hyoung |
See also[edit]
References[edit]
- ^ ab'Table 8: Cinema Infrastructure - Capacity'. UNESCO Institute for Statistics. Retrieved 2018-03-12.
- ^'Table 6: Share of Top 3 distributors (Excel)'. UNESCO Institute for Statistics. Retrieved 2018-03-12.
- ^'Table 1: Feature Film Production - Method of Shooting'. UNESCO Institute for Statistics. Retrieved 2018-03-12.
- ^ ab'Table 11: Exhibition - Admissions & Gross Box Office (GBO)'. UNESCO Institute for Statistics. Retrieved 2018-03-12.
- ^ abcStamatovich, Clinton (2014-10-25). 'A Brief History of Korean Cinema, Part One: South Korea by Era'. Haps Korea Magazine. Retrieved 2017-02-15.
- ^ abPaquet, Darcy (2012). New Korean Cinema: Breaking the Waves. Columbia University Press. pp. 1–5. ISBN0231850123..
- ^Messerlin, P.A. and Parc, J. 2017, The Real Impact of Subsidies on the Film Industry (1970s–Present): Lessons from France and Korea, Pacific Affairs 90(1): 51-75.
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External links[edit]
Wikimedia Commons has media related to Cinema of South Korea. |
- Korean Movie Database (in Korean)