masters of Korean cinema define their art in this period of dynamic transition? My article addresses this vital and yet somewhat neglected issue by examining thematic and stylistic changes in recent films by Pak Ch’ôlsu (Park Chulsoo) and Im Kwônt’aek (Im Kwon-Taek), two prominent figures who began their directorial careers in earlier decades but have continued their search for their own film language to the present day. Pak’s Farewell My Darling (Haksaengbugunsinwi, 1996) and Kazoku Cinema (Kajok
Full Service Cinema: The South Korean Cinema Success Story (So Far) Fifteen years ago, South Korean cinema was in precipitous decline. It was facing deadly competition from Hollywood as import barriers were dismantled, and had almost no export market. Today, South Korean cinema is widely considered the most successful and significant non-Hollywood cinema anywhere in the world today. It is successful both in the domestic market, and internationally. This essay sets out to understand this phenomenon