KOREAN FILM: History, Resistance, and Democratic Imagination

Korean Film: History, Resistance, and Democratic Imagination

Volumn , Issue , 2003, Pages 1-199

  Min, Eungjun ^a   Joo, Jinsook ^b   Ju Kwak, Han ^c  

^a RHODE ISLAND COLLEGE   (United States)

^b Chung Ang University   (South Korea)

^c UNIVERSITY OF SOUTHERN CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 34247488101     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Book

References (247)

1. Adam, I., and H. Tiffin. (1990). Past the Last Post: Theorizing Post-Colonialism and Post-Modernism. Calgary: University of Calgary Press.
2. Alford, C. (2000). Local hits boost Korean biz. Variety, Jan. 20, 15.
3. Anderson, B. (1991). Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso.
4. Anderson, P. (1968). Components of National Culture, New Left Review 50 (2), pp. 3-57.
5. Andrew, D. (1988). Concept in Film Theory. New York: Oxford University Press.
6. Armes, R. (1987). Third World Filmmaking and the West. Berkeley: University of California Press.
7. Audley, P. (1983). Canada's Cultural Industries. Toronto, Ontario: Lormier.
8. Bakhtin, M. M. (1981). The Dialogical Imagination. C. Emerson & M. Holoquist. (Trans.). Austin: University of Texas Press.
9. Bazin, A. (1967). What Is Cinema? Hugh Gray (Trans, and Ed.), Berkeley: University of California Press.
10. Becker, H. (1982). Art Worlds. Berkeley: University of California Press.
11. Befu, Harumi. (1993). Cultural Nationalism in East Asia: Representation and Identity. Berkeley: University of California Press.
12. Berger, Peter L. (1974). Pyramids of Sacrifice: Political Ethics and Social Change. New York: Anchor Books.
13. Best, Steven, and Douglas Kellner. (1991). Postmodern Theory: Critical Interrogations. New York: The Guilford Press.
14. Bhabha, H. (1990). Nation and Narration. London: Routledge.
15. Binford, M. (1987). The Two Cinemas of India. In John Downing (Ed.), Film and Politics in the Third World. New York: Praeger.
16. Bordwell, D. et al. (1985). The Classical Hollywood Film: Film Style and Mode of Production to 1960. New York: Columbia University Press.
17. Bordwell, D., and Thompson, K. (2001). Film Art: An Introduction. New York: Addison Wesley.
18. Burton, J. (1986). Cinema and Social Change in Latin America: Conversations with Filmmakers. Austin: University of Texas Press.
19. Campaine, B. M. et al. (Eds.) (1982). Who Owns the Media? Concentration of Ownership in the Mass Communications Industry. White Plains, NY: Knowledge Industry.
20. Cardoso, F.H., and E. Faletto. (1979). Dependency and Development in Latin America. Berkeley: University of California Press.
21. Casebier, A. (1988). A Deconstructive Documentary, Journal of Film and Video, 40 (1) pp. 34-39.
22. Cawelti, J. (1976). Adventure, Mystery, and Romance. Chicago: University of Chicago Press.
23. Chambers, I., and L. Curti. (1984). A Volatile Alliance: Culture, Popular Culture, and the Italian Left. In Formation of Nation and the People. London: BFI, pp. 99-121.
24. Cho, D. (1986). The general nature of P'ansori. Korea Journal 26 (3), pp. 11-22.
25. Choi, C. (1997). The Discourse of Decolonialization and Popular Memory: South Korea. In Tani E. Barlow (Ed.), Formations of Colonial Modernity in East Asia. Durham: Duke University Press, pp. 349-372.
26. Chu, G. C. et al. (1993). Modernization vs. Revolution: Cultural Change in Korea and China. Seoul: Sung Kyun Kwan University Press.
27. Cook, D. (1981). A History of Narrative Film. New York: W. W. Norton.
28. Council of Europe (Ed.). (1980). The State's Role vis-a-vis the Culture Industries. Strasbourg, France: Council of Cultural Cooperation, Council of Europe.
29. Cummings, B. (1997). Korea's Place in the Sun. A Modern History. New York: W.W. Norton.
30. Davis, A. (1998). Blues Legacies and Black Feminism. New York: Pantheon Books.
31. Davis M. (1992). Burning All Illusions in LA. In M. Davis (Ed.), Inside the LA Riots. New York: Institute for Alternative Journalism, p. 99.
32. Degan, C. (1980). U.S. Film Industry, 1969-79. In Council of Europe(Ed.), The State's Role vis-a-vis the Culture Industries. Strasbourg, France: Council of Cultural Cooperation, Council of Europe, pp. 23-25.
33. Dimaggio, P., and Paul M. H. (1976). Production Organizations in the Arts. American Behavioral Scientist 19 (6), pp. 36-57.
34. Dissanayake, W. (1993). Melodrama and Asian Cinema. Cambridge: Cambridge University Press.
35. Dissanayake, W. (Ed.) (1994). Colonialism and Nationalism in Asian Cinema. Bloomington and Indianapolis: Indiana University Press.
36. Doherty, T. (August 1984). Creating a National Cinema. Asian Survey, pp. 840-51.
37. Donner, J. (1980). European Film Policy: Major Issues Regarding the Development of Film Production and Systems of Public Intervention. In Council of Europe (Ed.), The State's Role vis-a-vis the Culture Industries. Strasbourg, France: Council of Cultural Cooperation, Council of Europe, pp. 58-78.
38. DuBois, J. (1996). Cultures of the World: Korea. New York: Marshall Cavendish.
39. Dyer, R., and G. Vincendeau (Eds.) (1992). Popular European Cinema. London: Routledge.
40. Elliott, P. (1972). The Making of a Television Series: A Case Study in the Sociology of Culture. In Communication Arts Books. New York: Hastings House.
41. Espinosa, P. (1982). The Audience in the Text: Ethnographic Observations of a Hollywood Story Conference. Media, Culture and Society 4(1), pp.77-86.
42. Ettema, J. S. (1982). The Organizational Context of Creativity: A Case Study from Public Television. In J. S. Ettema and D. C. Whitney (Eds.), Individuals in Mass Media Organizations: Creativity and Constraint. Beverly Hills, CA: Sage.
43. Fanon, F. (1969). The Wretched of the Earth. Constance Farrington (Trans.). New York: Grove Press.
44. Filson, A. (1980). The Distribution of Films Produced in the Countries of the Community. Unpublished Report for the Commission of the European Communities.
45. Finn, J. (1992). The Musical Heritage of Black Men and Women in the Americas. New York: Interlink Books.
46. Fiske, J. (1987). Television Culture. London: Methuen.
47. Frank, A. G. (1969). Capitalism and Under development in Latin America. New York: Monthly Review Press.
48. Fromm, E. (1975). The Anatomy of Human Destructiveness. Greenwich, CT: Fawcet.
49. Gabriel, T. (1982). Third Cinema in the Third World. Ann Arbor: UMI Pres.
50. Garnham, N. (1983). Toward a Theory of Cultural Materialism. Journal of Communication 33 (3), pp. 314-329.
51. Geertz, C. (1973). The Interpretation of Culture. New York: Basic Books.
52. Giddens, A. (1994). Beyond Left and Right. The Future of Radical Politics. Stanford: Stanford University Press.
53. Gitlin, T. (1978). Media Sociology: The Dominant Paradigm. Theory and Society 6 (2), pp. 205-253.
54. Gitlin, T. (1983). Inside Prime Time. New York: Pantheon Books.
55. Goulding, D. (1985). Liberated Cinema: The Yugoslav Experience. Bloomington: Indiana University Press.
56. Gramsci, A. (1978). Selections From Political Writings (1921-1926), Quintin Hoare (Trans, and Ed.). London: Lawrence and Wishart.
57. Guback, T. (1969). The International Film Industry. Bloomington: Indiana University Press.
58. Guback, T. (1971). Film and Cultural Pluralism. Journal of Aesthetic Education 5 (2), pp. 35-51.
59. Guback, T. (1974). Film as International Business. Journal of Communication 24 (1), pp. 90-101.
60. Guback, T. (1982). Theatrical Film. In B. M. Campaine et al. (Eds.), Who Owns the Media? Concentration of Ownership in the Mass Communications Industry. White Plains, NY: Knowledge Industry, pp. 199-298.
61. Guback, T. (1985). Government Financial Support to the Film Industry in the United States. In Bruce Austin (Ed.), Current Research in Film. Vol. 3. Norwood, NJ: Ablex.
62. Guback, T. (1987). The Evolution of the Motion Picture Theater Business in the 1980s. Journal of Communication 37 (2), pp. 60-77.
63. Hall, S. (1977). Cuture, the Media, and the Ideological Effect. In James Curran et al., (Eds.), Mass Communication and Society London: Arnold, pp. 315-348.
64. Hall, S. (1980). Cultural Studies: Two Paradigms. Media, Culture and Society 2, pp. 57-72.
65. Hall, S. (1982). The rediscovery of Ideology: Return of the Repressed in Media Studies. In M. Gurevitch et al. (Eds.), Culture, Society, and Media. London: Methuen, pp. 56-90.
66. Hamelink, C. J. (1983). Cultural Autonomy in Global Communications: Planning National Information Policy. New York: Longmans.
67. Han, Sangjin. (February 1998). Challenges to Asian Leadership and Confucianism: Why Do We Need a Reflexive Modernization? A paper presented at the UNDP Conference in Kualalumpur, Malaysia.
68. Hart-Landsberg, Martin. (1993). The Rush to Development: Economic Change and Political Struggle in South Korea. New York: Monthly Review Press.
69. Harvard Asia Pacific Review. (September 1997). Im Kwon-taek: Between Blockbusters and Art Films. Available at http://www.hcs.harvard.edu/-hapr/im.html
70. Higson, Andrew. (1995). Waving the Flag: Constructing a National Cinema in Britain. Oxford: Clarendon Press.
71. Hirsch, P. M. (1972). Processing Fads and Fashions: An Organization Set Analysis of the Cultural Industry System. American Journal of Sociology 77 (1), pp. 639-659.
72. Hirsch, P. M. (1978). Production and Distribution Roles Among Cultural Organizations. Social Research, 45, pp. 315-330.
73. Jameson, F. (Fall 1986). Third-World Literature in the Era of Multinational Capitalism. Social Text, pp. 65-88.
74. Jensen, J. (1984). An Interpretive Approach to Culture Production. In W. D. Rowland Jr., and B. Watkins (Eds.), Interpreting Television: Current Research Perspectives. Beverly Hills: Sage, pp. 98-118.
75. Johnson, R. (1982). Brazilian Film. Austin: The University of Texas Press.
76. Johnson, R. (1982). Histories of Culture/Theories of Ideology: Notes on an Impasse, In M. Barrett et al. (Eds.), Ideology and Cultural Production. London: Croom Helm, pp. 49-77.
77. Johnson, R. (1983). State Policy toward the Film Industry. In Brazil. No. 36, Technical Papers Series, Public Sector Studies. Austin: Institute of Latin American Studies, University of Texas.
78. Johnson, R. (1984). Cinema Novo x 5: Masters of Contemporary Brazilian Film. Austin: University of Texas Press.
79. Johnson, R. (1987). The Film Industry in Brazil. Pittsburgh, PA: University of Pittsburgh Press.
80. Joo, J. S. (1990). Constraints on Korean National Film: The Intersection of History, Politics and Economics in Cultural Production. Unpublished dissertation. Ann Arbor: UMI.
81. Kalton, M. (1979). Korean Ideas and Values. Elkins Park, PA: Phillip Jaisohn Memorial Foundation.
82. Kaminsky, S. M. (1985). American Film Genres. Chicago: Nelson-Hall.
83. Katz, Elihu. (1979). Cultural Continuity and Change: Role of Media. In K. Nordenstreng and H. I. Schiller (Eds.), National Sovereignty and International Communication. Norwood, NJ: Ablex.
84. Klinger, B. (1986). Cinema/Ideology/Criticism Revisited. In Barry Keith Grant (Ed.), Film Genre Reader. Austin: University of Texas Press, pp. 74-90.
85. Koo, Hagen (Ed.), (1993). State and Society in Contemporary Korea. Ithaca, NY: Cornell University Press.
86. Kotz, L. (1989). Unofficial Stories: Documentaries by Latinas and Latin American Women, The Independent. May, pp. 21-27.
87. Laclau, E. and Mouffe, C. (1985). Hegemony and Socialist Strategy: Toward a Radical Democratic Politics. London: Verso.
88. Lee, C. C. (1980). Media Imperialism Reconsidered: The Homogenizing of Television Culture. Berverly Hills, CA: Sage.
89. Lee, C. M. (Ed.), (1981). Modernization of Korea and the Impact of the West. Los Angeles: East Asian Studies Center at University of Southern California.
90. Lee, H. (1999). South Korea sees itself in Miro. Variety, 3 May, 15.
91. Lee, Y. I. (1988). The History of Korean Cinema: Main Current of Korean Cinema. Richard Lynn Greever (Trans.). Seoul: Motion Picture Promotion Corporation.
92. Lent, J. (1990). South Korea. In Asian Film Industry. Austin: University of Texas Press, pp. 122-148.
93. Londoner, D. J. (1985). The Changing Economics of Entertainment. In Tino Balio (Ed.), The American Film Industry, Madison: The University of Wisconsin Press, pp. 603-630.
94. Lone, S., and G. McCormack. (1994). Korea Since 1850. New York: St. Martin's Press.
95. Lopez, A. M. (1986). Towards A "Third" and "Imperfect" Cinema: A Theoretical and Historical Study of Filmmaking in Latin America. Unpublished Ph. D. Dissertation. University of Iowa.
96. Marx, L., and B. Mazlis (Eds.), (1996). Progress: Fact or Illusion? Ann Arbor: University of Michigan Press.
97. Mattelart, A. (1979). Multinational Corporations and the Control of Culture: The Ideological Apparatuses of Imperialism. Michael Chanan (Trans.). Trenton, NJ: Humanities Press.
98. McAnany, E. G. (1986). Cultural Industries in International Perspective: Convergence or Conflict? In B. Dervin and M. J. Voigt (Eds.), Progress in Communication Sciences. Vol. 7. Norwood, NJ: Ablex, pp. 1-29.
99. McAnany, E. G. (1987). The Logic of Cultural Industries in Latin America: The Television Industry in Brazil. In V. Mosco and J. Wasco (Eds.), Critical Communications Review, Vol. 2. Norwood, NJ: Ablex. pp. 185-208.
100. McClintock, A. (1995). Imperial Leather: Race, Gender and Sexuality in the Colonial Contest. New York: Routledge.
101. Meehan, E. (1986). Conceptualizing Culture as Commodity: The Problem of Television. Critical Studies in Mass Communication, 3, pp. 448-457.
102. Mellencamp, Patricia. (1997). Situation Comedy, Feminism, and Freud: Discourses of Gracie and Lucy. In Charlotte Brunsdon, Julie D'Acci, and Lynn Spigel (Eds.), Feminist Television Criticism: A Reader. New York: Oxford University Press, pp. 60-73.
103. Metz, C. (1973). Methodological Propositions for the Analysis of Film. Screen 14 (1/2), pp. 89-101.
104. Mitchell, Edward. (1986). Apes and Essences: Some Sources of Significance in the American Gangster Film. In Barry Keith Grant (Ed.), Film Genre Reader. Austin: University of Texas Press, pp. 159-168.
105. Morley, D. (1980). "Nationwide" Audience. London: BFI.
106. Murdock, G. (1982). Large Corporations and the Control of Communication Industries. In M. Gurevitch et al. (Eds.), Culture, Society, and The Media. New York: Methuen, pp. 118-150.
107. Murdock, G., and P. Golding. (1979). Capitalism, Communication and Class Relations. In J. Curran et al. (Eds.), Mass Communication and Society. London: Sage Publications, pp. 34-52.
108. Newcomb, H. (1984). Dialogic Aspects of Mass Communication. Critical Studies in Mass Communication. 1, pp. 34-50.
109. Newcomb, H., and R. S. Alley. (1983). The Producer's Medium: Conversations with Creators of American TV. New York: Oxford University Press.
110. Nord, D. P. (1983). An Economic Perspective on Formula in Popular Culture. In Ellen Wartella and D. Charles Whitney (Eds.), Mass Communication Yearbook 4. Beverly Hills, CA: Sage Publications.
111. Nordenstreng, K., and H. I. Schiller. (1979). National Sovereignty and International Communication. Norwood, NJ: Ablex.
112. O'Sullivan, T. et al. (1994). Key Concepts in Communication and Cultural Studies. London: Routledge.
113. Park, A. (1994). The Wounded Heart of God. Nashville, TN: Abingdon Press.
114. Peterson, R. A. (1982). Five Constraints on the Production of Culture: Law, Technology, Market, Organizational Structure and Occupational Careers. Journal of Popular Culture 6 (2), pp. 143-153.
115. Peterson, R. A. (Ed.) (1976). The Production of Culture. Beverly Hills, CA: Sage.
116. Peterson, R. A., and D. G. Berger. (1975). Cycles in Symbol Production: The Case of Popular Music. American Sociological Review 40. pp. 158-173.
117. Pines, J., P. Willeman. (1989). Questions of Third Cinema. London: BFI.
118. Renan, E. (1990). What Is a Nation? In Homi Bhabha (Ed.), Nation and Narration. London: Routledge, pp. 8-22.
119. Ryans, T. (1994). Seoul Stirring: 5 Korean Directors. London: Institute of Contemporary Art.
120. Said, Edward W. (1979). Orientalism. New York: Vintage Books.
121. Sainsbury, P. (1980). Possibilities for Joint European Action to Shape the International Film Market: Alternative Strategies for Government Intervention. In Council of Europe (Ed.), The State's Role vis-a-vis the Culture Industries. Strasbourg, France: Council of Cultural Cooperation, Council of Europe, pp. 29-32.
122. Sanders, C. (1982). Structural and Interactional Features of Popular Culture Production: An Introduction to the Production of Culture Perspective. Journal of Popular Culture 16 (2), pp. 66-74.
123. Schatz, T. (1981). Hollywood Genres: Formulas, Filmmaking and the Studio System. Philadelphia: Temple University Press.
124. Schiller, H. I. (1976). Communication and Cultural Domination. White Plains, NY: International Arts and Sciences.
125. Schnitman, J. A. (1984). Film Industries in Latin America: Dependency and Development. Norwood, NJ: Ablex.
126. Seo, N. D. (1983). Minjoong Theology. Seoul: Kongdongche Pub.
127. Shapiro, M. (1990). The Shadow in the Sun: A Korean Year of Love and Sorrow. New York: Atlantic Monthly Press.
128. Skorman, R. (1989). Off-Hollywood Movies. New York: Harmony Books.
129. Smythe, D. (1977). Communication: Blindspot of Western Marxism. Canadian Journal of Political and Social Theory. 1 (3), pp. 231-254.
130. Standish, I. (1994). Korean Cinema and the New Realism: Text and Context. In W. Dissanayake (Ed.), Colonialism and Nationalism in Asian Cinema. Bloomington: Indiana University Press, pp. 65-89.
131. Tang, X., and Snyder, S. (Eds.), (1996). In Pursuit of Contemporary East Asian Culture. Boulder; Westview Press.
132. Todorov, T. (1984). Mikhail Bakhtin: The Dialogical Principle, Wlad Godzich (Trans.). Minneapolis: University of Minnesota Press.
133. Tomaselli, K. (1988). The Cinema of Apartheid. New York: Lake View Press.
134. Toth, E. (Ed.), (1985). Regionalism and the Female Imagination: A Collection of Essays. New York: Human Science Press.
135. Tuchman, G. (1983). Consciousness Industries and the Production of Culture. Journal of Communication 3 (3), pp. 330-341.
136. Tunstall, J. (1977). The Media Are American: Anglo-American Media in the World. New York: Columbia University Press.
137. Turner, G. (1990). Film as Social Practice. London: Routledge.
138. UNESCO. (1982). Cultural Industries: A Challenge for the Future of Cultures. Paris: UNESCO.
139. Variety. (December 25, 1985). Korea In Accord With Export Assn, p. 3, 17.
140. Variety. (September 14, 1988). Hollywood Majors Drawing Up Trade Complaint Against Korea, p. 64.
141. Variety. (September 14, 1988). Korean Screen Primer, p. 65.
142. Variety. (September 14, 1988). Deadpan Comment, p. 68.
143. Variety. (July 25, 1990). Arrest of Korean UIP employee sparks old protests, p. 7.
144. Variety. (August 8, 1990). Fueled by demand, UIP soars up and away: distribution earns record $ 542 million rentals: Exec predicts most growth in Asia, p. 65.
145. Varis, T., and Guback, T. (1982). Transnational Communication and Cultural Industries. Reports and Papers on Mass Communications 92. Paris: UNESCO.
146. Vincz, Jason. (November 26, 1996). Due East. The Village Voice, p. 12.
147. Warshow, R. (1962). The Immediate Experience. New York: Doubleday.
148. Wasco, J. (1982). Movies and Money: Financing the American Film Industry. Norwood, NJ: Ablex.
149. Wells, K. M. (Ed.) (1995). South Korea's Minjoong Movement: The Culture and Politics of Dissidence. Honolulu: University of Hawaii Press.
150. Willemen, P. (1995). The National. In L. Devereaux and R. Hillman. (Eds.), Fields of Vision: Essays in Film Studies, Visual Anthropology, and Photography. Berkeley: University of California Press, pp. 21-34.
151. Williams, R. (1978). Marxism and Literature. London: Oxford University Press.
152. Williams, R. (1981). The Sociology of Culture. New York: Schocken Books.
153. Wilson, R. (1994). Melodramas of Korean National Identity: From Mandara to Black Republic. In W. Dissanayake (Ed.), Colonialism and Nationalism in Asian Cinema, Bloomington: Indiana University Press, pp. 65-89.
154. Wright, W. (1975). Six Guns and Society: A Structural Study of the Western. Berkeley: University of California Press.
155. Bae, B. H. (1988). A Study of Korean Film Industry. In Ready Go II: For a New Korean Film. Irongua Shilchon, pp. 121-146.
156. Bae, B. H. (January 19, 1989). Crossroad of Realist Films: Laughter or Realism. Sports Seoul, p. C-1.
157. Baik, N.C. (Summer 1990). Editor's Notes. Changjak Gua Beepyong (Literary Critique), 18, p. 2-4.
158. Byun, J. R. (January 1990). A Debate on New Cinema. A special issue of Wolgan Joongang (Monthly Central) on "Great Debates of Korean Society in 1980s." 3, pp. 207-210.
159. Byun, J. R. (June 21, 1994). A Film Critic, Telephone Interview.
160. Cho, C. H. (July 7 and 24, 1988). An Official in the Ministry of Culture and Information, Telephone Interview.
161. Cho, J. H. (1987). A Study of Korean Film Industry. Unpublished Master's Thesis. Sogang University (Seoul, Korea).
162. Cho, M. J. (July 8, 1988). Film Director and the Head of Association of Directors/the Head of the Association for Revision of Motion Picture Promotion Law, Personal Interview.
163. Choi, Y. C. (January 1987). Thirty Years of History of Chosun Film: 1910-1940. Movie, pp. 132-137.
164. Chosun Daily. (April 29, 1997). Gongyeonbub Chulphe (Abolishing the Censorship on Entertainment Industry).
165. Chung, Y. M. (July 12, 1988). Promotion Director at the MPPC, Personal Interview.
166. Cine 21 (a film magazine). July (1996) Bulletin Board, 3, 83.
167. Cine 21. (April 1998). Interview with Director Sangsu Hong, p. 146.
168. Daily Sports. (December 10, 1987). A Newly Debuted Director with Taste of Heaven.
169. Daily Sports. (January 17, 1988). Boom of new film directors.
170. Daily Sports. (January 7, 1988). New film directors race in the new year.
171. Donga Ilbo. (January 30, 1928). Controversy about Oknyo,
172. Economic Planning Board. (1988). Major Statistics of Korean Economy.
173. Han, Wansang. Summer (1991). A lecture given at Ohio State University.
174. Hankuk Ilbo. (January 22, 1988). Ten New Film Directors, New Wind in Filmdom.
175. Hankuk Ilbo. (June 1, 1988). New Movies.
176. Hangyeorae Shinmun. (April 18, 1990). Parup Jeonya Geeseup Raid on Parup.
177. Hangyeorae Shinmun (November 19, 1988). First Step Toward a National Film.
178. Hangyeorae Shinmun. (June 2, 1988). New Director's Ambitious Work: Will Taste of Heaven Be a Success?
179. Heo, J. (September 1985). Interview with Kisung Whang. Movie, pp. 56-61.
180. Hong, K. (1983). Realism of Korean Film. In Seoul Filmic Group (Ed.), Toward a New Film. Seoul: Hakmin Publishing Co., pp. 289-304.
181. Hong, M. (1985). Small-format Film Movement. In Seoul Filmic Group (Ed.), The Theory of Film Movement. Seoul: Whada, pp. 209-234.
182. Jang, S. W. (1983). New Life, New Film. In Seoul Filmic Group (Ed.), Toward a New Film. Seoul: Hakmin Publishing Co., pp. 11-16.
183. Jang, S. W. (1983). Toward an Open Film. In Seoul Filmic Group (Ed.), Toward a New Film. Seoul: Hakmin Publishing Co., pp. 305-322.
184. Jang, S.W. (September 1984). Consumptive Spectators and Creative Spectators. Madang.
185. Jang, S. W. (1987). Seonggong Sidae: A Selection of Scenario. Seoul: Hakmin Publishing Co.
186. Jang, S. W. (May 18, 1988). Personal Interview.
187. Jang, S. W. (May 28, 1988). A Lecture at Whang Kisung Sadan.
188. Jang, S. W. (1988). Declaration of the Humanized Camera. Xeroxed Copy, pp. 267- 283.
189. Jang, S. W. (1988). Searching for People's Film. Xeroxed Copy, pp. 147-157.
190. Jangsangotmae. (1990) Jangsangotmae Promotional Pamphlet.
191. Jungang Ilbo. (May 28, 1988). New Movies.
192. Kang, N. H. (1996). Few Ways to Cultural Analysis. Seoul: Moonhak & Gwahak Press.
193. Kim, D. W. (June 20, 1990). Telephone interview on his work "SangyeDong Olympic" and national cinema.
194. Kim, H. K. (March 1995). Ideology-less College Campus. Monthly Chosun, pp. 466-472.
195. Kim, H. S. (June 2, 1988). Stairway of Desire towards Death. Handai Shinmun (Hanyang University Paper).
196. Kim, H. S. (June 1988). Earnest But Immature. Saemigipunmul, pp. 182-183.
197. Kim, J. G. and H. Y. Cho. (1990). Korean Social Theory. Seoul: Hanul Pub.
198. Kim, J. H. (July 1988). Taste of Heaven is Not a Successful Film. Hometopia, p. 237.
199. Kim, J. W. (1985) Moonwha Woondong Ron (Theory of Cultural Movement) I. Seoul: Kongdong Che Pub.
200. Kim, J. W. (1990). Moonwha Woondong Ron (Theory of Cultural Movement) II. Seoul: Kongdong Che Pub.
201. Kim, M. W. (February 1995). The Power of Korean Cinema. Monthly Chosun, 21, pp. 601-607.
202. Lee, C. Y. (May 20, 1988). Personal interview.
203. Lee, C. Y. (May 28, 1988). Personal interview.
204. Lee, C. Y. (June 1, 1988). Personal interview.
205. Lee, H. I. (April 28, 1996). Telephone Interview.
206. Lee, J. G. (1983). Japanese People in Korean Film Industry under Japanese Occupation. In A Selection of Papers. Jungang University Press.
207. Lee, J. G. (1990). Reading Parup Jeonya. In. National Cinema Research Institute (Ed.), Minjok Youngwha II Seoul: Chingoo, pp. 190-201.
208. Lee, J. G. (1992). Hankook Younghwa ui Ihae (Understanding Korean Cinema). Seoul: Yaeni.
209. Lee, M. W. (1984). State of Film Distribution System and Improvement Plan. Selection of Korean Film Academy. Seoul: Motion Picture Promotion Corporation.
210. Lee, S. J. (September 2000). Importation of Japanese films. Screen, P. 124.
211. Lee, Y. I. (1988). The History of Korean Cinema: Main Current of Korean Cinema. Seoul: Motion Picture Promotion Corporation.
212. Lee, Y. I., and H. Yu. (1985). M. Korean History of Drama, Dance and Film Arts. Seoul: Korean Arts Council.
213. Lee, Y. I. et al. (1986). Situation and Prospect of Korean Films in the 1980s. Ready Go. Seoul: Irongua Shilchon, pp. 1-34.
214. Lee, Y. K. (1990). The Current Address of National Cinema. In Minjok Youngwha II. National Cinema Research Institute (Ed.), Seoul: Chingoo, pp. 182-189.
215. Lim, K. S. (1974). A Study of Promotion Policy of Korean Film. Unpublished Master's Thesis. Seoul National University.
216. Maeil Shinbo. October 26, 1919.
217. Maeil Shinbo. January 1, 1925.
218. Maeil Shinbo. April 24, 1937.
219. Ministry of Culture and Information (July 1987). Laws and Regulations on Motion Picture. Seoul: Ministry of Culture and Information.
220. Ministry of Culture and Information. (1987). Promotion Law of Culture and Arts. Seoul: Ministry of Culture and Information.
221. Minjok Youngwha Yeonguso (National Cinema Research Institute). (1989). Minjok Youngwha I. Seoul: Chingoo.
222. Minjok Youngwha Yeonguso (National Cinema Research Institute). (1990). Minjok Youngwha II. Seoul: Chingoo.
223. Moon, H. J. (July 6, 1988). Researcher at the branch office of MPEAA. Personal Interview.
224. Moon, H. J. (July 1988). Director of Taste of Heaven, Sunwoo Jang: Expectations on New and Young Film. Movie, pp. 50-53.
225. Motion Picture Promotion Corporation. (1984). A Compilation of Data on the Film Industry. Seoul: MPPC.
226. Motion Picture Promotion Corporation. (1984-1988). Korean Film Annual. Seoul: MPPC.
227. Nam, H. S. (May 20, 1994). Personal Interview. Secretary of Independent Film Association.
228. Park, E. T. (July 4, 1988). Personal Interview. Business Manager at the branch office of UIP-CIC.
229. Park, E. Y. (Fall 1994). Independent Cinema: Criticism and Future. Korean Dongnip Youngwha (Independent Cinema,), 2, pp. 124-129.
230. Park, M. J. (July 10, 1988). Two Hit Films Show Potentiality of Commercial Film. Hangyure Shinmun.
231. Park, P. S. (July 1988) From Fablesque Satire of Reality to Sentimentalism. Movie, pp. 58-59.
232. Park, S. H. (June 10, 1988). The Age of Success: A Salesman's Obsession. The Korea Herald.
233. Screen. (November 1988). Struggle for Korean Film. pp. 245-261.
234. Screen (December 1994). Statistics for the 4th Quarter, p. 11.
235. Screen. (May 1995). Statistics for the 2nd Quarter, p. 12.
236. Seo, N. D. (1983). Minjoong Theology. Seoul: Kongdongche Pub.
237. Seoul Youngwha Jipdahn (Seoul Cine Group). (1983). Saerowoon Youngwha uihayeo (Towards a New Cinema). Seoul: Hakmin Pub.
238. Seoul Youngwha Jipdahn. (1985). The Theory of Film Movement. Seoul: Whada.
239. Seoul Youngwha Jipdahn (1997). Byunbang Aeseo Joongsim Ero (From the outside to the center). Seoul: Sikak & Unoe Press.
240. Shin, C. (March 22 and June 28, 1988). Personal Interview. Planning Director at Myongbo Theater.
241. Whang Kisung Sadan. (1987). Screenplay of Taste of Heaven. Seoul: Whang Kisung Sadan
242. Whang, K. S. (June 20, 1988). Personal Interview. Producer and Head of Whang Kisung Sadan.
243. Yang, Y. M. (1996). Theory of Cinema Movement. In Joonggeo Lee (Ed.), Understanding of Korean Cinema. Seoul: Yeni Pub., pp. 271-282.
244. Yeo, G. D. (1983). Practice of Madanggeuk. In Eun Ko et al. (Eds.), The Practical Logic of Literature and Arts. Shilchon Sinseo, pp. 174-191.
245. Yoo, G. N. (May 1995). Living as a woman in Asia. Screen. 12, pp. 116-119.
246. Yoon, G., and S. C. Choi. (Eds.), (1994). Psychology of the Korean People: Collectivism and Individualism. Seoul: Dong-A Publishing & Printing Co.
247. Yu, H. M. (1980). Korean Film Development History. Seoul: Hanjin Publishing Co.