Joint Security Area (South Korea: Chan-wook Park, 2000: 110 mins)
Hancock, James and Kyle Reardon. "In Praise of Park Chan-wook." Wrong Reel #227 (January 2017)
Lin, Ed. "This Side of Parasite: New Korean Cinema 1998–2009." The Current (November 2, 2020)
Raymond, Marc. "From Old Boys to Quiet Dreams: Mapping Korean Art Cinema Today." Film Criticism 42.1 (March 2018) ["This essay theorizes Korean art cinema today through an analysis of domestic festivals (especially Busan, Jeonju, and Bucheon), major festivals abroad (particularly Cannes, Berlin, and Toronto), and various other institutions in order to provide a comprehensive mapping of how art cinema within Korea currently operates. Using sociological theories of taste pioneered by Pierre Bourdieu, the paper shows how the dominant name auteurs of Korea, particularly Park Chan-wook and Lee Chang-dong, were established through international festivals, beginning in the 1990s but exploding in the 2000s, at the same time as Korean films began to compete with and surpass Hollywood films at the local box office. These filmmakers were shaped by the changing ideas of art cinema globally, as theorized by scholars such as David Andrews, and the dominance of these figures thus helped shape the domestic festivals, with younger Korean directors often following within these traditions. The rise of the domestic box office helped create an independent cinema within the country, not unlike the emergence of indie cinema in the United States during the blockbuster era, which had the consequence of both increasing opportunities for young directors while often pigeon-holing them into narrow niches."]
Raymond, Marc. "From Old Boys to Quiet Dreams: Mapping Korean Art Cinema Today." Film Criticism 42.1 (March 2018) ["This essay theorizes Korean art cinema today through an analysis of domestic festivals (especially Busan, Jeonju, and Bucheon), major festivals abroad (particularly Cannes, Berlin, and Toronto), and various other institutions in order to provide a comprehensive mapping of how art cinema within Korea currently operates. Using sociological theories of taste pioneered by Pierre Bourdieu, the paper shows how the dominant name auteurs of Korea, particularly Park Chan-wook and Lee Chang-dong, were established through international festivals, beginning in the 1990s but exploding in the 2000s, at the same time as Korean films began to compete with and surpass Hollywood films at the local box office. These filmmakers were shaped by the changing ideas of art cinema globally, as theorized by scholars such as David Andrews, and the dominance of these figures thus helped shape the domestic festivals, with younger Korean directors often following within these traditions. The rise of the domestic box office helped create an independent cinema within the country, not unlike the emergence of indie cinema in the United States during the blockbuster era, which had the consequence of both increasing opportunities for young directors while often pigeon-holing them into narrow niches."]
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