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Appendix: Korean Movies in Hong Kong Box-office (1998-2015)Footnote162
Notes
1. Audé, “On Lee Chang-dong's Peppermint Candy,” in Positif, p. 32, quoted in Jeong, “European Reponses to Korean Movies: The Case of France,” in Korean and Korean American Studies Bulletin, p. 29.
2. Chua, “Conceptualizing an East Asian Popular Culture,” in Inter-Asia Cultural Studies, p. 203.
3. See Iwabuchi, Recentering Globalization: Popular Culture and Japanese Transnationalism; Powers & Kato, Handbook of Japanese Popular Culture; Tsai, “Decolonizing Japanese TV Drama: Syncopated Notes from a ‘Sixth Grader’ Researcher Relocated in Taiwan,” in Inter-Asia Cultural Studies; Han, “Consuming the Modern: Globalization, Things Japanese, and the Politics of Cultural Identity in Korea,” in Journal of Pacific Asia; Shim, “The Growth of Korean Cultural Industries and the Korean Wave,” in East Asian Pop Culture: Analysing the Korean Wave, Park, “Transnational Adoption, ‘Hallyu’, and the Politics of Korean Popular Culture,” in Biography.
4. Robertson, “Glocalization: Time-Space and Homogeneity-Heterogeneity,” in Global Modernities.
5. Chua and Iwabuchi, East Asian Pop Culture: Analysing the Korean Wave; Kim and Kim, Hallyu: Influence of Korean Popular Culture in Asia and Beyond; Kim, The Korean Wave: Korean Media Go Global; Kim and Choe, The Korean Popular Culture Reader; Hong, The Birth of Korean Cool: How One Nation is Conquering the World Through Pop Culture; Kuwahara, The Korean Wave: Korean Popular Culture in Global Context; Marinescu, The Global Impact of South Korean Popular Culture: Hallyu Unbound; Choi and Maliangkay, K-pop—The International Rise of the Korean Music Industry; Hwang and Epstein, The Korean Wave: A Sourcebook; Fuhr, Globalization and Popular Music in South Korea: Sounding Out K-Pop; Kim, Routledge Handbook of Korean Culture and Society.
6. Heo, “The ‘Hanryu’ Phenomenon and the Acceptability of Korean TV Dramas in China,” in Korean Journal of Broadcasting; Shim, “Hybridity and the Rise of Korean Popular Culture in Asia,” in Media, Culture & Society; Jung, Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-pop Idols, p. 1.
7. Sung, “Constructing a New Image. Hallyu in Taiwan,” European Journal of East Asian Studies.
8. Ibid., p. 31.
9. Lee, “Television and Global Culture: Assessing the Role of Television in Globalization,” in The New Communications Landscape: Demystifying Media Globalization.
10. Chua, Conceptualizing, p. 205.
11. Kim, Virtual Hallyu: Korean Cinema of the Global Era, p. 2. According to Jin, Shiri was the very first officially imported Korean movie in Japan (New Korean Wave: Transnational Cultural Power in the Age of Social Media, p. 70).
12. See Iwabuchi, “When the Korean Wave Meets Resident Koreans in Japan: Intersections of the Transnational, the Postcolonial and the Multicultural,” in East Asian Pop Culture: Analysing the Korean Wave, pp. 243–264.
13. Hyun, quoted in Jin, New Korean Wave, p. 68.
14. Huat and Iwabuchi, East Asian Pop, p. 2.
15. Shim, Growth of Korean Cultural Industries, p. 22.
16. Shin, “Globalisation and New Korean Cinema,” in New Korean Cinema, p. 58.
17. Hyangjin, Contemporary Korean Cinema.
18. Min, Joo, and Kwak, Korean Film: History, Resistance, and Democratic Imagination.
19. Paquet, New Korean Cinema: Breaking the Waves.
20. Kim, The Remasculinization of Korean Cinema.
21. Kim, Virtual Hallyu, p. 5.
22. James and Kim, Im Kwon-Taek: The Making of a Korean National Cinema; Shin and Stringer, New Korean Cinema; Gateward, Seoul Searching: Culture and Identity in Contemporary Korean Cinema.
23. The “first Korean film renaissance” was in 1960s when Korean movie industry experience rapid boom both in terms of the recognized quality and the apparent quantity of Korean films. See McHugh and Abelmann, South Korean Golden Age Melodrama.
24. Choi, The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs.
25. Chung and Diffrient, Movie Migration: Transnational Genre Flows and South Korean Cinema.
26. Yecies and Shim, The Changing Face of Korean Cinema, 1960–2015.
27. Leong, Korean Cinema: The New Hong Kong—A Guidebook for the Latest Korean New Wave, p. 13.
28. Elley, “Review: ‘Failan,’” in Variety.
29. Ahn, The Pusan International Film Festival: South Korean Cinema and Globalization.
30. Leong, Korean Cinema.
31. 邱淑婷:⟪中日韓電影:歷史、社會、文化⟫ (香港:香港大學出版社, 2010年 [Yau, Chinese-Japanese-Korean Cinemas: History, Society and Culture]
32. Desser, “Timeless, Bottomless Bad Movies: Or, Consuming Youth in the New Korean Cinema,” in Gateward, Seoul Searching, p. 78.
33. Shin, Globalisation, p. 58.
34. Lin and Kwan, “The Dilemmas of Modern Working Women in Hong Kong: Women's Use of Korean TV Dramas,” in Asian Communication Research.
35. Lin and Tong, “Crossing Boundaries: Male Consumption of Korean TV Dramas and Negotiation of Gender Relations in Modern Day Hong Kong,” Journal of Gender Studies.
36. Kim, Agrusa, Chon, and Cho, “The Effects of Korean Pop Culture on Hong Kong Residents’ Perceptions of Korea as a Potential Tourist Destination,“ Journal of Travel & Tourism Marketing.
37. 梁旭明:〈從韓流看亞洲流行文化的流轉〉, 馬傑偉、吳俊雄主編:⟪普普香港一:閱讀香港普及文化2000-2010⟫ (香港:香港教育圖書有限公司, 2012年), 頁43–46 [“Analyzing Hallyu from the Outlook of the Circulation of Asian Popular Culture,” in Pop Hong Kong: Reading Hong Kong Popular Culture: 2000–2010.
38. Paquet, “Christmas in August and Korean Melodrama,” in Gateward, Seoul Searching, p. 51.
39. See appendix for complete box-office records.
40. ⟪光影十年:1997-2007回歸十年回顧⟫ (香港:電影雙周出版社, 2007年) [Cheung, Faces, Silhouette, and Montage: 1997-2007 Review]
41. Leong, Korean Cinema, p. 26.
42. Choi, South Korean Film.
43. Leong, Korean Cinema, p. 26.
44. Desser, Timeless, p. 78.
45. Paquet, “Seoul Mates: Korea's Romantic Comedies Take a Sassy Turn,” in Film Comment, p. 48.
46. “‘Windstruck’ to Premier in Hong Kong”. The Chosun Ilbo (2004, May 28).
47. 梁旭明:〈從韓流看亞洲流行文化的流轉 Leung, “Analyzing Hallyu from the Outlook of the Circulation of Asian Popular Culture.”
48. See Straubhaar, “Beyond Media Imperialism: Asymmetrical Interdependence and cultural Proximity,” in Critical Studies in Mass Communication; La Pastina and Straubhaar, “Mutiple Proximities Between Television Genres and Audiences: The Schism between Telenovelas’ Global Distribution and Local Consumption,” Gazette: The International Journal for Communication Studies; Kraidy, Hybridity or the Cultural Logic of Globalization; Pierterse, “Globalization as Hybridization,” in The Globalization Reader; Iwabuchi, Recentering Globalization: Popular Culture and Japanese Transnationalism; Shim, Hybridity.
49. Hyun, “Hong Kong Cinema in Korea: Its Prosperity and Decay,” in Asian Cinema.
50. Morris, Hong Kong Connections: Transnational Imagination in Action Cinema, p. 13.
51. Kim, “Genre as Contact Zone: Hong Kong Action and Korean Hwalkuk,” in Hong Kong Connections: Transnational Imagination in Action Cinema.
52. Lee, “Peripherals Encounter: The Hong Kong Film Syndrome in South Korea,” in Discourse, p. 99.
53. Ibid., p. 98.
54. Ibid., p. 104.
55. Hyun, Hong Kong Cinema, p. 40.
56. Lee, Peripherals Encounter, p. 100.
57. Hunt and Leung, East Asian Cinemas: Exploring Transnational Connections on Film, p. 2.
58. Jung, Korean Masculinities, p. 2.
59. The Appendix provides the complete records of Korean movies in Hong Kong box office.
60. Ahn, “Humor in Korean Cinema,” in East-West Film Journal, pp. 90–98.
61. Jin, New Korean Wave, p. 76.
62. 邱淑婷:⟪中日韓電影:歷史、社會、文化⟫ [Yau, Chinese-Japanese-Korean Cinemas: History, Society and Culture].
63. Horton and Rapf, A Companion to Film Comedy, p. 3.
64. For other relevant works on comedy, please see Horton, Comedy/Cinema/Theory; Karnick and Jenkins, Classical Hollywood Comedy; Frank Krutnik, Hollywood Comedians (London: Routledge, 2003).
65. 김종원, 정중헌:⟪우리영화100 년⟫ Kim and Chong, Our Movies 100 Year].
66. Abelmann and Choi, “‘Just Because:’ Comedy, Melodrama and Youth Violence in Attack the Gas Station,” in New Korean Cinema, p. 58.
67. Lau, “Besides Fists and Blood: Michael Hui and Cantonese Comedy,” in The Cinema of Hong Kong: History, Arts, Identity, p. 164.
68. Hyun, Hong Kong Cinema, p. 39.
69. Ibid.
70. Poshek and Desser, The Cinema of Hong Kong: History, Arts, Identity, p. 4.
71. Ku, “Masculinities in Self-Invention: Critics' Discourses on Kung Fu-Action Movies and Comedies,” in Masculinities and Hong Kong Cinema, p. 222.
72. Lau, Besides Fists, p. 166.
73. Ibid., p. 164.
74. 徐剛、郝朝帥:〈「癲狂」的癥候與「港味」的蹤跡:「北進」及新世紀香港喜劇電影的流變〉, Xu and Hao, “The ‘Crazy’ Symptom and the Trace of ‘Hong Kong Taste’: Northern Migration and the Transformation of Hong Kong Comedy Films in the 21st Century,” Journal of Beijing Film Academy].
75. 陳清偉:⟪香港電影工業結構及市場分析⟫ [Chen, The Structure and Marketing Analysis of Hong Kong Film Industry].
76. 李相:〈合拍背景下香港喜劇點影的發展與轉變〉, ⟪當代電影⟫[Xiang Li, “The Development and Change of Hongkong Comedy Movies with the Background of Co-operation,” Contemporary Cinema].
77. Yau, “A Study of Japanese, Korean, and Hong Kong Beauty Comedies,” in Asian Cinema, p. 158.
78. Park, “Tragicomic Transformations: Gender, Humor, and the Plastic Body in Two Korean Comedies,” in A Companion to Film Comedy.
79. Stringer, “Putting Korean Cinema in its Place: Genre Classifications and the Contexts of Reception,” in New Korean Cinema, p. 97.
80. Choi, South Korean Film, p. 87.
81. Kim, "Commercial Interest Driving Hollywood Remakes of Korean Hits,” in The Korean Herald.
82. Pajupuu, “Strong Capable South Korean Women: Roman Comedies as a Window on Culture,” in Quaderni di Cultura.
83. Choi, South Korean Film, p. 86.
84. Paquet, Seoul Mates, p. 49.
85. Kim, “Questions of Woman's Film: The Maid, Madame Freedom, and Women,” in South Korean Golden Age Melodrama, p. 188.
86. Ibid., p. 189.
87. Yau, Study of Japanese, p. 155.
88. Ibid.
89. Arons, “Violent Women in the Hong Kong Kung Fu Film,” in Reel Knockouts: Violent Women in the Movies, p. 27.
90. 廖志強:〈大眾消費文化的女性想像〉, 頁225 [Liu, “The Imagery of Women in Mass Consumer Culture: Hong Kong Cinema in 1998,” in Hong Kong Cinema: Nostalgia and Ideology, p. 225].
91. Ibid.
92. Pang, Masculinities and Hong Kong Cinema, p. 3.
93. Ku, Masculinities in Self-Invention, p. 237.
94. Yau, Study of Japanese, p. 156.
95. Ibid., p. 157.
96. Wong, “Women's Reception of Mainstream Hong Kong Cinema,” in Masculinities and Hong Kong Cinema, p. 239.
97. Pang, “Post-1997 Hong Kong Masculinity,” in Masculinities and Hong Kong Cinema, p. 53.
98. Chua, Conceptualizing, p. 217.
99. 이효인:「영화로 읽는 한국 사회문화사:악몽의 근대, 미몽의 영화」, [Lee, Reading Korean Social and Cultural History in Cinema].
100. Gateward, Seoul Searching, p. 196.
101. Park, “Fighting Women in Contemporary Asian Cinema,” in Cultural Studies, p. 245.
102. Lee and Park, “‘We Need a Committee for Men's Rights’: Reactions of Male and Female Viewers to Reverse Gender Discrimination in Korean Comedy,” in Asian Journal of Communication p. 356.
103. Gilbert, “Performing Marginality: Comedy, Identity, and Cultural Critique.” Text and Performance Quarterly, p. 328. In reality, however, according to Soyoung Kim, the female sphere in Korean cinema was shrinking, particularly in the big-budget blockbusters (Kim, “The Birth of the Local Feminist sphere in the Global Era: ‘Trans-Cinema’ and Yosongjang,” in Inter-Asia Cultural Studies).
104. Arons, Violent Women, pp. 28–29.
105. Yau, Study of Japanese, p. 158.
106. 「青年選十大網聞「14巴港女」居首」[Wen Wei Po (Hong Kong), (2014, January 27)].
107. Chua, Conceptualizing, p. 211.
108. Yau, Study of Japanese, p. 160.
109. Lin and Kwan, Dilemmas of Modern, p. 12.
110. For discussions on Korean female movie producers and directors, please see Yecies and Shim, Changing Face.
111. Chung and Diffrient, Movie Migration, p. 251.
112. Yau, Study of Japanese, p. 164.
113. Ibid., p. 163.
114. Kim, “Woman to be Seen but not to be Heard: Representation of Woman in the Contemporary Korean Movie ‘My Wife is a Gangster,’” Conference Paper, 23rd Conference of IAMCR, p. 6.
115. Chung and Diffrient, Movie Migration, p. 253.
116. Ibid.
117. Chung and Diffrient, “Interethnic Romance and Political Reconciliation in Asako in Ruby Shoes,” in New Korean Cinema.
118. Yau, Study of Japanese, p. 160.
119. The “Astronaut father” began to emerge in the early 1990s. The term refers to Hong Kong men who settled their family members overseas while they stayed behind to make earning for their families.
120. Yau, Study of Japanese, p. 158.
121. The primary reason was because the government decreased the Korean-screen quota from 149 days to 73 days as a result of the free-trade agreement negotiations with the United States.
122. Jin, New Korean Wave, p. 72.
123. Kim, Virtual Hallyu, p. 2.
124. Ibid., pp. 2–3.
125. Hunt and Leung, East Asian Cinemas, p. 1.
126. 대한민국의영화흥행기록 KOFIC. The Korean Film Council, accessed 24 December 2016: http://www.koreanfilm.or.kr/jsp/news/boxOffice_AllTime.jsp?mode=BOXOFFICE_ALLTIME〉;
127. Hunt and Leung, East Asian Cinemas, p. 1.
128. The movie was written by Gwak Jae-yong, the director of My Sassy Girl and Windstruck and two other Hong Kong screenwriter Felix Chong Man-Keung 莊文強 and Gordan Chan Kar-Seung 陳嘉上. The movie was directed by Hong Kong director Andrew Lau Wai-Keung 劉偉強, featuring Korean actors and actress including Jeon Ji-Hyeon, the female protagonist of My Sassy Girl and Windstruck.
129. Jin, New Korean Wave, p. 72. Also see Lee and Nornes, Hallyu 2.0: The Korean Wave in the Age of Social Media.
130. Ibid., p. 84.
131. Ibid., pp. 84–85.
132. Chung and Diffrient, Movie Migration, p. 2.
133. Yang, “The Korean Wave (Hallyu) in East Asia: A Comparison of Chinese, Japanese, and Taiwanese Audiences Who watch Korean TV Dramas,” in Development and Society.
134. Informants #28, 37.
135. Informants #31, 33.
136. Informants #30, 35.
137. Informant #36.
138. Informant #34.
139. Informant #22.
140. Informant #29.
141. Informants #6, 7, 26.
142. Informant #8.
143. Informant #17.
144. Informants #14, 20.
145. Informants #32.
146. Informant #38.
147. Kim, Effects of Korean Pop, p. 180.
148. Oh and Lee, “Mass Media Technologies and Popular Music Genres: K-pop and YouTube,” in Korea Journal.
149. Personal Interview conducted by Hye Seung Chung and David Scott Diffrient; Chung & Diffrient, Movie Migration, p. 247.
150. Ibid.
151. Informant #3.
152. Informants #9, 10.
153. Informant #39.
154. Informant #5.
155. Informants #16, 27.
156. Informants #1.
157. Informants #23, 40.
158. Informant #12.
159. Lin and Kwan, “The Dilemmas of Modern Working Women in Hong Kong: Women's Use of Korean TV Dramas,” 2.
160. The influence of Terminal High Altitude Area Defense (THAAD) system, incident on Hallyu in Hong Kong.
161. Kim, “Interpreting Transnational Cultural Practices: Social Discourses on a Korean drama in Japan, Hong Kong, and China,” in Cultural Studies, p. 737.
162. Records from 1998 to 2006: ⟪光影十年:回歸十年回顧 (1997-2007) ⟫ (香港;香港雙週刊出版社) , 2007 年; records from 2007 to 2009, 2011: Hong Kong Box Office Limited (HKBO); records from 2010: ⟪2010 香港電影手冊⟫ [2010 Hong Kong Movie Manuel]; records form 2012–2015: 香港電影業資料彙編 (MPIA).
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Notes on contributors
David J. Kang
David Jong Hyuk Kang is an assistant professor at the Education University of Hong Kong. He is a historian of Modern Hong Kong and China. His research focuses mainly on the cultural interactions between the East and the West in historical contexts, as well as the collision among cultures within East Asia.