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Notes
Notes
1 Kang Je Gyu quoted in French, “Arts Abroad; A Film Boom Rattles South Korea’s View of Itself,” in New York Times, paragraph 10.
2 Kirk, “A South Korean Film Makes Art Successful,” in New York Times; Paquet, “1999,” in Darcy’s Korean Film Page.
3 Shin and Stringer, “Storming the Big Screen: The Shiri Syndrome,” in Seoul Searching: Culture and Identity in Contemporary Korean Cinema, p. 57.
4 Noh, “Compressed Transformation of Korean Film Industry from Old to New Regime,” in Asian Cinema, p. 138.
5 Leong, “The One That Got the Party Started,” in Variety, p. A10; Ibid., p. 143.
6 Jin, “Critical Interpretation of Hybridisation in Korean Cinema,” in Javnost—The Public, p. 10.
7 Quoted in Choi, The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs, p. 32.
8 Matsumoto, “A Korean Détente,” in Los Angeles Times.
9 Cited in Shin & Stringer, pp. 56–57. Originally from Choe, “Korean Films Gain Ground on Hollywood to Claim 40 Percent of Local Market Share,” in Korean Herald.
10 Quoted in Jung, Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols.
11 Alford, “Home is Where the Hits Are,” in Variety.
12 Lee, “Localized Globalization and a Monster National: ‘The Host’ and the South Korean Film Industry,” in Cinema Journal, p. 50.
13 Park, Unexpected Alliances: Independent Filmmakers, the State, and the Film Industry in Postauthoritarian South Korea, p. 95.
14 Ibid.
15 Ibid., p. 96.
16 Howard, “Contemporary South Korean Cinema: ‘National Conjunction’ and ‘Diversity,’” in East Asian Cinemas: Exploring Transnational Connections on Film, p. 89.
17 Quoted in Shin and Stringer, “Storming the Big Screen,” p. 57. Originally from Hwang, Shiri Invigorating Local Movie Industry.
18 Paquet, New Korean Cinema: Breaking the Waves, p. 71.
19 Palmer, “Interview: Born Again; ‘Shiri’ Beats Hollywood at its Own Game,” in IndieWire.
20 Quoted in Berry, “What’s Big About the Big Film? ‘De-Westernizing’ the Blockbuster in Korea and China,” in Movie Blockbusters, p. 224; text originally from The Korean Herald 2000.
21 Ibid.; ticket sales quoted in Jung Korean Masculinities, p. 1, originally from Kim, Yŏnghwa Yesurŭi Ongho [Defending Film Art], p. 21.
22 Kim, Virtual Hallyu: Korean Cinema of the Global Era, p. 2; gross financial data in Leong, The One, p. A10.
23 Gerow, “Fantasies of War and Nation in Recent Japanese Cinema,” in Asia–Pacific Journal: Japan Focus, p. 1.
24 Matsumoto, Korean Détente.
25 Anon., “Shiri,” in Box Office Mojo.
26 Anon., “[Sŭk’ ŭrin ant’ena] ‘Shwiri’ rŏshiasŏ kaebong” [(Screen Antenna) ‘Shiri’ Released in Russia],” in Han’gukkyŏngje [Korean Economy]; I, “‘Shwiri Tolp’ungt’ Rŏshiŏsŏdo Maengwi—Sŭp’och’ŭ T’udei” [“Shiri Squall” Fierce Also in Russia—Sports Day], in Yŏnghwaŭi ŏllon [Cinema’s Press].
27 I, “Yŏnghwa Shwiri—JSA Oeguksŏ Hŭnghaeng Chaedaegyŏl” [Shiri—JSA Overseas Box Office Match], in Kungmin Ilbo [National Daily].
28 Singapore, Malaysia, Germany, and Spain cited in Anon., Screen Antenna; India and Indonesia cited in Kim, Defending Film Art, p. 16.
29 Anon., “Swiri (1999),” in KoBiz.
30 Korean Film Commission, Korean Cinema.
31 Cagle, “No Turning Back: An Interview with Kang Je-gyu,” in Asian Cinema, p. 47.
32 Lee, Localized Globalization, p. 50.
33 Ibid., quoted from Jung Sun.
34 Jin, “Cultural Politics in Korea’s Contemporary Films Under Neoliberal Globalization,” in Media, Culture, and Society, p. 65.
35 The 386 generation directors were people in their thirties who participated in the pro-democracy movement during the 1980s who were born in the 1960s. Choi, “Love’s Cruel Promises: Love, Unity, and North Korea,” in International Feminist Journal of Politics, pp. 34–5; 38.
36 Shin and Stringer, “Storming the Big Screen,” p. 57.
37 For a detailed analysis of the Hollywood influences in Shiri, see Shin and Stringer, “Storming the Big Screen,” pp. 62–64. J Choi, referencing David Bordwell, provides an alternative analysis focusing on deadlines, causality, and redundancy. See J Choi, The South Korean Film, p. 41. See Bordwell, Narration in the Fiction Film, pp. 57, 157.
38 Matsumoto, Korean Détente.
39 Ibid.
40 Lee, Contemporary Korean Cinema: Identity, Culture, Politics, p. 4.
41 Illyŏn. Samguk yusa [Legends and History of the Three Kingdoms of Ancient Korea], pp. 32–3.
42 Cummings, Korea’s Place in the Sun: A Modern History, p. 25.
43 Jinhee Choi identifies three cinematic predecessors to this North–South doomed spy romance template in what some have also termed the divisional romance but she never invokes the concept of namnambungnyŏ. Of the three that Choi mentions, Han Hyung-mo's The Hand of Destiny (Unmyŏngŭi son, 1954) is the most similar to Shiri but on a less ambitious or complicated level. However, the extent of this similarity is very flimsy because The Hand of Destiny involves a Catholic redemption narrative to claim forgiveness for both prostitution and for serving as a North Korean spy by the female character (see Choi, South Korean Film, pp. 37–8.
44 There are two key sources on the Romanization of Korean actors’ names: Internet Movie Database (imdb.com) and the Korean Movie Database (kmdb.or.kr). Both versions will be provided, respectively.
45 Yecies, Shim, and Goldsmith, “Digital Intermediary: Korean Transnational Cinema,” in Media International Australia, p. 139.
46 Klein, “Martial Arts and the Globalization of US and Asian Film Industries,” in Comparative American Studies, p. 378.
47 In 1897, Chosŏn declared its independence from the traditional Sinocentric political cosmos to become the Korean Empire, an equal nation among the community of nation–states within the Eurocentric political cosmos.
48 Park, Unexpected Alliances, p. 8.
49 Choi, South Korean Film, p. 36.
50 Kim, The Remasculinization of Korea Cinema, p. 268.
51 Choi, “Love’s Cruel,” p. 120.
52 Chung and Diffrient, Movie Migrations: Transnational Genre Flows and South Korean Cinema, p. 137.
53 James, “Preface,” in Im Kwon-Taek: The Making of a Korean National Cinema, p. 16.
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Aaron Han Joon Magnan-Park
Aaron Han Joon Magnan-Park is Assistant Professor in the Department of Comparative Literature at the University of Hong Kong. He specializes in poly-Asian cinema from a global perspective with a focus on action aesthetics and ethnocultural nationalism. He has published in Asian Cinema, Journal of Japanese and Korean Cinema, Journal of Korean Studies, and Post Script. He has also published chapters in the anthologies Chinese Connections; Hong Kong Film, Hollywood and New Global Cinema; Korean Wave; New Korean Cinema; The Politics of Community; and Towards Sustainable Economic and Security Relations in East Asia. He is co-editor of the forthcoming The Palgrave Handbook of Asia Cinema. He has held academic positions in France, New Zealand, and the United States.