Cinema of South Korea

The earliest movie theaters in the country opened during the late Joseon to Korean Empire periods. The first was Ae Kwan Theater,{{Cite web |last1=오 |first1=승훈 |last2=김 |first2=경애 |date=2021-11-02 |script-title=ko:"한국 최초의 영화관 '애관극장' 사라지면 안되잖아요" |trans-title="We Can't Let the First Movie Theater in Korea, 'Ae Kwan Theater' Disappear" |url=https://www.hani.co.kr/arti/culture/movie/1017695.html |access-date=2023-09-10 |website=The Hankyoreh |language=ko}} followed by Dansungsa.{{Cite news |last=이 |first=재덕 |date=2015-02-07 |script-title=ko:저당 잡힌 '109살 한국 예술의 요람' 단성사는 웁니다 |trans-title=Dansungsa, the '109 Year Old Cradle of Korean Cinema', Weeps After Being Mortgaged |work=Kyunghyang Shinmun |url=https://khan.co.kr/economy/economy-general/article/201502061417191 |access-date=2023-09-10}}

File:Jayu manse poster 2.jpg (1946)]]

With the surrender of Japan in 1945 and the subsequent liberation of Korea, freedom became the predominant theme in South Korean cinema in the late 1940s and early 1950s.{{Cite news|url=http://busanhaps.com/brief-history-korean-cinema-part-one-south-korea-era/|title=A Brief History of Korean Cinema, Part One: South Korea by Era|last=Stamatovich|first=Clinton|date=2014-10-25|newspaper=Haps Magazine|access-date=2017-02-15}} One of the most significant films from this era is director Choi In-gyu's Viva Freedom! (1946), which is notable for depicting the Korean independence movement. The film was a major commercial success because it tapped into the public's excitement about the country's recent liberation.{{Cite web|url=http://recruit.koreafilm.or.kr/feature/100_4.asp|title=Viva Freedom! (Jayumanse) (1946)|website=Korean Film Archive|access-date=2018-03-13|archive-url=https://web.archive.org/web/20180314043330/http://recruit.koreafilm.or.kr/feature/100_4.asp|archive-date=14 March 2018|url-status=dead}}

However, during the Korean War, the South Korean film industry stagnated, and only 14 films were produced from 1950 to 1953. All of the films from that era have since been lost.{{Cite web|url=http://www.koreafilm.or.kr/webzine/section_view.asp?Section=32&UpSeq=1446&downSeq=2781&intGroupNum=30|script-title=ko:한국전쟁 중 제작된 영화의 실체를 마주하다|last=Gwon|first=Yeong-taek|date=2013-08-10|website=Korean Film Archive|language=ko|trans-title=Facing the reality of film produced during the Korean War|archive-url=https://web.archive.org/web/20140908224428/http://www.koreafilm.or.kr/webzine/section_view.asp?Section=32&UpSeq=1446&downSeq=2781&intGroupNum=30|archive-date=2014-09-08|access-date=2018-03-13}} Following the Korean War armistice in 1953, South Korean president Syngman Rhee attempted to rejuvenate the film industry by exempting it from taxation. Additionally foreign aid arrived in the country after the war that provided South Korean filmmakers with equipment and technology to begin producing more films.{{Cite web|url=http://koreanfilm.org/history.html|title=A Short History of Korean Film|last=Paquet|first=Darcy|date=2007-03-01|website=KoreanFilm.org|access-date=2018-03-13}}

File:The Housemaid (1960).jpg (1960)]]

Though filmmakers were still subject to government censorship, South Korea experienced a golden age of cinema, mostly consisting of melodramas, starting in the mid-1950s. The number of films made in South Korea increased from only 15 in 1954 to 111 in 1959.{{cite web|url=http://koreanfilm.org/kfilm45-59.html|title=1945 to 1959|last=Paquet|first=Darcy|website=KoreanFilm.org|access-date=2013-03-13}}

One of the most popular films of the era, director Lee Kyu-hwan's now lost remake of {{Ill|Chunhyangjeon (1955 film)|lt=Chunhyangjeon|ko|Chunhyang-jeon}} (1955), drew 10 percent of Seoul's population to movie theaters However, while Chunhyang-jeon re-told a traditional Korean story, another popular film of the era, Han Hyung-mo's Madame Freedom (1956), told a modern story about female sexuality and Western values.{{Cite book|url=https://books.google.com/books?id=vYSgpD1yWQ4C|title=South Korean Golden Age Melodrama: Gender, Genre, and National Cinema|publisher=Wayne State University Press|year=2005|isbn=0814332536|editor-last=McHugh|editor-first=Kathleen|pages=25–38|editor-last2=Abelmann|editor-first2=Nancy}}

South Korean filmmakers enjoyed a brief freedom from censorship in the early 1960s, between the administrations of Syngman Rhee and Park Chung Hee.{{Cite news|url=http://www.thedailybeast.com/articles/2014/12/30/propaganda-protests-and-poisonous-vipers-the-cinema-war-in-korea.html|title=Propaganda, Protest, and Poisonous Vipers: The Cinema War in Korea|last=Goldstein|first=Rich|date=2014-12-30|newspaper=The Daily Beast|access-date=2017-02-15}} Kim Ki-young's The Housemaid (1960) and Yu Hyun-mok's Obaltan (1960), now considered among the best South Korean films ever made, were produced during this time.Min, p.46. Kang Dae-jin's The Coachman (1961) became the first South Korean film to win an award at an international film festival when it took home the Silver Bear Jury Prize at the 1961 Berlin International Film Festival.{{Cite web|url=http://koreanfilm.org/kfilm60s.html|title=1960s|last=Paquet|first=Darcy|website=KoreanFilm.org|access-date=2018-03-13}}{{Cite web|url=https://www.berlinale.de/en/archiv/jahresarchive/1961/03_preistr_ger_1961/03_Preistraeger_1961.html|title=Prizes & Honours 1961|website=Berlin International Film Festival|access-date=2018-03-13}}

When Park Chung Hee became acting president in 1962, government control over the film industry increased substantially. Under the Motion Picture Law of 1962, a series of increasingly restrictive measures was enacted that limited imported films under a quota system. The new regulations also reduced the number of domestic film-production companies from 71 to 16 within a year. Government censorship targeted obscenity, communism, and unpatriotic themes in films.{{Cite web|url=https://www.inaglobal.fr/en/cinema/article/unique-story-south-korean-film-industry|title=The Unique Story of the South Korean Film Industry|last=Rousse-Marquet|first=Jennifer|date=2013-07-10|website=French National Audiovisual Institute (INA)|access-date=2018-03-13}}{{Cite journal|last=Kim|first=Molly Hyo|year=2016|title=Film Censorship Policy During Park Chung Hee's Military Regime (1960-1979) and Hostess Films|url=http://iafor.org/archives/journals/iafor-journal-of-cultural-studies/10.22492.ijcs.1.2.03.pdf|journal=IAFOR Journal of Cultural Studies|volume=1|issue=2|pages=33–46|doi=10.22492/ijcs.1.2.03|via=wp-content|doi-access=free}}

Nonetheless, the Motion Picture Law's limit on imported films resulted in a boom of domestic films. South Korean filmmakers had to work quickly to meet public demand, and many films were shot in only a few weeks. During the 1960s, the most popular South Korean filmmakers released six to eight films per year. Notably, director Kim Soo-yong released ten films in 1967, including Mist, which is considered to be his greatest work.

In 1967, South Korea's first animated feature film, Hong Kil-dong, was released. A handful of animated films followed including Golden Iron Man (1968), South Korea's first science-fiction animated film.

Government control of South Korea's film industry reached its height during the 1970s under President Park Chung Hee's authoritarian "Yusin System." The Korean Motion Picture Promotion Corporation was created in 1973, ostensibly to support and promote the South Korean film industry, but its primary purpose was to control the film industry and promote "politically correct" support for censorship and government ideals.{{Cite book|title=Seoul Searching: Culture and Identity in Contemporary Korean Cinema|last=Gateward|first=Frances|publisher=SUNY Press|year=2012|isbn=978-0791479339|pages=18|chapter=Korean Cinema after Liberation: Production, Industry, and Regulatory Trend|chapter-url=https://books.google.com/books?id=rExAbis-j8sC}} According to the 1981 International Film Guide, "No country has a stricter code of film censorship than South Korea – with the possible exception of the North Koreans and some other Communist bloc countries."Kai Hong, "Korea (South)", International Film Guide 1981, p.214. quoted in {{cite book|title=Third World Film Making and the West|last=Armes|first=Roy|publisher=University of California Press|year=1987|isbn=0-520-05690-6|location=Berkeley, California|page=156|chapter=East and Southeast Asia}}

Only filmmakers who had previously produced "ideologically sound" films and who were considered to be loyal to the government were allowed to release new films. Members of the film industry who tried to bypass censorship laws were blacklisted and sometimes imprisoned.{{Cite book|url=https://books.google.com/books?id=A9SrAgAAQBAJ|title=Rising Sun, Divided Land: Japanese and South Korean Filmmakers|last=Taylor-Jones|first=Kate|publisher=Columbia University Press|year=2013|isbn=978-0231165853|pages=28}} One such blacklisted filmmaker, the prolific director Shin Sang-ok, was kidnapped by the North Korean government in 1978 after the South Korean government revoked his film-making license in 1975.{{Cite web|url=http://koreanfilm.org/kfilm70s.html|title=1970s|last=Paquet|first=Darcy|website=KoreanFilm.org|access-date=2018-03-15}}

The propaganda-laden movies (or "policy films") produced in the 1970s were unpopular with audiences who had become accustomed to seeing real-life social issues onscreen during the 1950s and 1960s. In addition to government interference, South Korean filmmakers began losing their audience to television, and movie-theater attendance dropped by over 60 percent from 1969 to 1979.Min, p.51-52.

Films that were popular among audiences during this era include Yeong-ja's Heydays (1975) and Winter Woman (1977), both box office hits directed by Kim Ho-sun. Yeong-ja's Heydays and Winter Women are classified as "hostess films," which are movies about prostitutes and bargirls. Despite their overt sexual content, the government allowed the films to be released, and the genre was extremely popular during the 1970s and 1980s.

In the 1980s, the South Korean government began to relax its censorship and control of the film industry. The Motion Picture Law of 1984 allowed independent filmmakers to begin producing films, and the 1986 revision of the law allowed more films to be imported into South Korea.

Meanwhile, South Korean films began reaching international audiences for the first time in a significant way. Director Im Kwon-taek's Mandala (1981) won the Grand Prix at the 1981 Hawaii Film Festival, and he soon became the first Korean director in years to have his films screened at European film festivals. His film Gilsoddeum (1986) was shown at the 36th Berlin International Film Festival, and actress Kang Soo-yeon won Best Actress at the 1987 Venice International Film Festival for her role in Im's film, The Surrogate Woman.{{cite web|url=http://www.koreanfilm.org/imbook.html|title=A Review of Im Kwon-Taek: The Making of a Korean National Cinema|last=Hartzell|first=Adam|date=March 2005|website=KoreanFilm.org|access-date=2018-03-15}}

In 1988, the South Korean government lifted all restrictions on foreign films, and American film companies began to set up offices in South Korea. In order for domestic films to compete, the government once again enforced a screen quota that required movie theaters to show domestic films for at least 146 days per year. However, despite the quota, the market share of domestic films was only 16 percent by 1993.

The South Korean film industry was once again changed in 1992 with Kim Ui-seok's hit film Marriage Story, released by Samsung. It was the first South Korean movie to be released by business conglomerate known as a chaebol, and it paved the way for other chaebols to enter the film industry, using an integrated system of financing, producing, and distributing films.{{Cite book|url=https://books.google.com/books?id=edH5Aeb-epgC|title=East Asian Pop Culture: Analysing the Korean Wave|publisher=Hong Kong University Press|year=2008|isbn=978-9622098923|editor-last=Chua|editor-first=Beng Huat|pages=16–22|editor-last2=Iwabuchi|editor-first2=Koichi}}

It is important to note that until 1996, when the Film Promotion Law was passed,Paquet, Darcy. "The Korean Film Industry: 1992 To The Present" in New Korean Cinema. Edited by Chi-Yun Shin and Julia Stringer, 35. Edinburgh, U.K: Edinburgh University Press. 2005. the film industry was still subject to censorship. Censoring of scripts in pre-production was officially dismissed in the late 1980s, still producers were unofficially expected to present two copies to the Public Performance Ethics Committee,Park, Seung Hyun. 2002. "Film Censorship And Political Legitimation In South Korea, 1987-1992". Cinema Journal 42 (1): 123. doi:10.1353/cj.2002.0024. who had the power to modify by completely cutting scenes.Paquet, Darcy. 2009. New Korean Cinema: Breaking The Waves (Short Cuts). New York, USA: Columbia University Press.

As a result of the 1997 Asian financial crisis, many chaebols began to scale back their involvement in the film industry. However, they had already laid the groundwork for a renaissance in South Korean film-making by supporting young directors and introducing good business practices into the industry. "New Korean Cinema," including glossy blockbusters and creative genre films, began to emerge in the late 1990s and 2000s. At the same time, representation of women in visual media drastically declined in the aftermath of the 1997 IMF Crisis.Sohn, Hee Jeong. 2020. "Feminism Reboot: Korean Cinema Under Neoliberalism In The 21St Century". Journal Of Japanese And Korean Cinema 12 (2): 100. doi:10.1080/17564905.2020.1840031.

South Korean cinema saw domestic box-office success exceeding that of Hollywood films in the late 1990s largely due to screen quota laws that limited the public showing foreign films.{{cite news |title= U.S. Films Troubled by New Sabotage in South Korea Theater |url=https://www.latimes.com/archives/la-xpm-1989-06-19-ca-1754-story.html | work=Los Angeles Times | first=Sam |last=Jameson |date=1989-06-19}} First enacted in 1967, South Korea's screen quota placed restrictions on the number of days per year that foreign films could be shown at any given theater—garnering criticism from film distributors outside South Korea as unfair. As a prerequisite for negotiations with the United States for a free-trade agreement, the Korean government cut its annual screen quota for domestic films from 146 days to 73 (allowing more foreign films to enter the market).{{Cite web|url=https://www.koreatimes.co.kr/www/news/include/print.asp?newsIdx=13183|title='Movie Industry Heading for Crisis'|website=The Korea Times}} In February 2006, South Korean movie workers responded to the reduction by staging mass rallies in protest.{{cite news |title= Screen quotas raise tricky issues |url=https://variety.com/2007/film/markets-festivals/screen-quotas-raise-tricky-issues-1117959026/ | work=Variety | first=James |last=Brown |date=2007-02-09}} According to Kim Hyun, "South Korea's movie industry, like that of most countries, is grossly overshadowed by Hollywood. The nation exported US$2 million-worth of movies to the United States last year and imported $35.9 million-worth".{{cite web|url=http://www.korea-is-one.org/article.php3?id_article=2336 |archive-url=https://web.archive.org/web/20060526152110/http://www.korea-is-one.org/article.php3?id_article=2336 |url-status=dead |archive-date=2006-05-26 |title=Korean movie workers stage mass rally to protest quota cut |publisher=Korea Is One |access-date=2010-02-11}}

One of the first blockbusters was Kang Je-gyu's Shiri (1999), a film about a North Korean spy in Seoul. It was the first film in South Korean history to sell more than two million tickets in Seoul alone.{{Cite book|url=https://books.google.com/books?id=tTJeo-qpOboC|title=The Media Globe: Trends in International Mass Media|publisher=Rowman and Littlefield Publishers|year=2007|isbn=978-0742540934|editor-last=Artz|editor-first=Lee|location=New York|pages=41|editor-last2=Kamalipour|editor-first2=Yahya R.}} Shiri was followed by other blockbusters including Park Chan-wook's Joint Security Area (2000), Kwak Jae-yong's My Sassy Girl (2001), Kwak Kyung-taek's Friend (2001), Kang Woo-suk's Silmido (2003), and Kang Je-gyu's Taegukgi (2004). In fact, both Silmido and Taegukgi were seen by 10 million people domestically—about one-quarter of South Korea's entire population.{{Cite web|url=http://www.filmjournal.com/thinking-outside-box|title=Thinking Outside the Box|last=Rosenberg|first=Scott|date=2004-12-01|website=Film Journal International|access-date=2013-03-16}}

South Korean films began attracting significant international attention in the 2000s, due in part to filmmaker Park Chan-wook, whose movie Oldboy (2003) won the Grand Prix at the 2004 Cannes Film Festival and was praised by American directors including Quentin Tarantino and Spike Lee, the latter of whom directed the remake Oldboy (2013).{{Cite news|url=https://www.hollywoodreporter.com/news/original-oldboy-gets-remastered-rescreened-656858|title=Original 'Oldboy' Gets Remastered, Rescreened for 10th Anniversary in South Korea|last=Lee|first=Hyo-won|date=2013-11-18|work=The Hollywood Reporter|access-date=2018-03-16}}

Director Bong Joon-ho's The Host (2006) and later the English-language film Snowpiercer (2013), are among the highest-grossing films of all time in South Korea and were praised by foreign film critics.{{Cite web|url=http://www.koreanfilm.or.kr/eng/news/boxOffice_AllTime.jsp?mode=BOXOFFICE_ALLTIME|title=Box Office: All Time|website=Korean Film Council|access-date=2018-03-16}}{{Cite news|url=https://www.forbes.com/sites/dorothypomerantz/2014/09/08/what-the-economics-of-snowpiercer-say-about-the-future-of-film/#2cbdc1506bb1|title=What The Economics Of 'Snowpiercer' Say About The Future Of Film|last=Pomerantz|first=Dorothy|date=2014-09-08|work=Forbes|access-date=2018-03-16}} Yeon Sang-ho's Train to Busan (2016), also one of the highest-grossing films of all time in South Korea, became the second highest-grossing film in Hong Kong in 2016.{{Cite news|url=https://www.forbes.com/sites/outofasia/2018/01/11/along-with-the-gods-could-k-film-ever-be-as-popular-as-k-pop-in-asia/#42b75eca3594|title=Could K-Film Ever Be As Popular As K-Pop In Asia?|last=Kang Kim|first=Hye Won|date=2018-01-11|work=Forbes|access-date=2018-03-16}}

In 2019, Bong Joon-ho's Parasite became the first film from South Korea to win the prestigious Palme d'Or at the Cannes Film Festival.{{Cite web|url=https://www.koreanfilm.or.kr/eng/news/news.jsp?pageIndex=1&blbdComCd=601006&seq=5300&mode=VIEW&returnUrl=&searchKeyword=|title=PARASITE Crowned Best Foreign Language Film at Golden Globes|website=Korean Film Biz Zone}} At the 92nd Academy Awards, Parasite became the first South Korean film to receive any sort of Academy Awards recognition, receiving six nominations. It won Best Picture, Best Director, Best International Feature Film and Best Original Screenplay, becoming the first film produced entirely by an Asian country to receive a nomination for the Academy Award for Best Picture since Crouching Tiger, Hidden Dragon, as well as the first film not in English ever to win the Oscar for Best Picture.{{Cite web|url=https://variety.com/2020/film/news/parasite-wins-oscar-best-international-film-1203496722/|title='Parasite' Becomes First South Korean Movie to Win Best International Film Oscar|first1=Klaritza Rico,Maane|last1=Khatchatourian|first2=Klaritza|last2=Rico|first3=Maane|last3=Khatchatourian|date=10 February 2020}}

Park Chan-wook's Decision to Leave and Hirokazu Kore-eda's Broker each won an award at the 2022 Cannes Film Festival.{{cite web|title=David Cronenberg, Park Chan-wook, Kelly Reichardt Set for Cannes Competition|url=https://www.hollywoodreporter.com/movies/movie-news/2022-cannes-lineup-film-festival-1235128080/|website=Hollywood Reporter|access-date=14 April 2022|date=14 April 2022|archive-date=16 April 2022|archive-url=https://web.archive.org/web/20220416034452/https://www.hollywoodreporter.com/movies/movie-news/2022-cannes-lineup-film-festival-1235128080/|url-status=live}}{{Cite web |url=https://www.hollywoodreporter.com/movies/movie-news/cannes-2022-broker-wins-cannes-ecumenical-jury-award-for-best-film-1235155758/ |title=Cannes: Broker Wins Ecumenical Jury Award for Best Film |author=Scott Roxborough |website=Hollywood Reporter |date=28 May 2022 |access-date=28 May 2022 |language=en |archive-date=28 May 2022 |archive-url=https://web.archive.org/web/20220528151020/https://www.hollywoodreporter.com/movies/movie-news/cannes-2022-broker-wins-cannes-ecumenical-jury-award-for-best-film-1235155758/ |url-status=live }} While Song Kang-ho became the first South Korean actor to win Best Actor at the same festival.{{cite web|url=https://n.news.naver.com/entertain/article/108/0003057606|script-title=ko:[속보]송강호, '브로커'로 칸 국제영화제 남우주연상 수상 '쾌거'|trans-title=[Breaking News] Kang-ho Song wins Best Actor Award at Cannes Film Festival for Broker, 'splendid achievement'|author=Kim Mi-hwa|date=May 28, 2022|website=Star News|language=ko|access-date=May 28, 2022|archive-date=May 28, 2022|archive-url=https://web.archive.org/web/20220528192109/https://n.news.naver.com/entertain/article/108/0003057606|url-status=live}}

{{Main|List of highest-grossing films in South Korea}}

The Korean Film Council has published box office data on South Korean films since 2004. As of March 2025, the top ten highest-grossing domestic films in South Korea since 2004 are as follows.

1. The Admiral: Roaring Currents (2014)
2. Extreme Job (2019)
3. Along with the Gods: The Two Worlds (2017)
4. Ode to My Father (2014)
5. Veteran (2015)
6. 12.12: The Day (2023)
7. The Host (2006)
8. The Thieves (2012)
9. Miracle in Cell No.7 (2013)
10. Assassination (2015)

• Aeni
• Sageuk
• Korean horror has entered its first fertile period in the 1960s.{{Cite book |last1=Peirse |first1=Alison |last2=Martin |first2=Daniel |date=2013-03-14 |title=Korean Horror Cinema |url=http://dx.doi.org/10.1515/9780748677658 |pages=1 |doi=10.1515/9780748677658|isbn=978-0-7486-7765-8 }} Modern South Korean horror films are typically distinguished by stylish directing, themes of social commentary, and genre blending.{{Cite web |author=The Playlist Staff |date=2014-06-26 |title=Primer: 10 Essential Films Of The Korean New Wave |url=https://www.indiewire.com/features/general/primer-10-essential-films-of-the-korean-new-wave-84413/ |access-date=2023-11-18 |website=IndieWire |language=en-US}} Horror films are designed to 'cool' the audience; traditionally, horror films are screened domestically during the summer months, as they are thought to be effective at lowering body temperature by providing 'chills'.
• Zainichi cinema
• South Korean Queer Cinema

{{Main|Category:South Korean film awards}}

South Korea's first film awards ceremonies were established in the 1950s, but have since been discontinued. The longest-running and most popular film awards ceremonies are the Grand Bell Awards, which were established in 1962, and the Blue Dragon Film Awards, which were established in 1963. Other awards ceremonies include the Baeksang Arts Awards, the Korean Association of Film Critics Awards, and the Busan Film Critics Awards.{{Cite web|url=http://koreanfilm.org/awards.html|title=Film Awards Ceremonies in Korea|last=Paquet|first=Darcy|website=KoreanFilm.org|access-date=2018-03-16}}

{{Main|List of film festivals in South Korea}}

Founded in 1996, the Busan International Film Festival is South Korea's major film festival and has grown to become one of the largest and most prestigious film events in Asia.{{Cite news|url=https://qz.com/1083686/a-dark-political-cloud-has-lifted-over-one-of-asias-most-prestigious-film-festivals/|title=South Korea's Busan film festival is emerging from under a dark political cloud|last=Steger|first=Isabella|date=2017-10-10|work=Quartz|access-date=2018-03-16}}

The first South Korean film to win an award at an international film festival was Kang Dae-jin's The Coachman (1961), which was awarded the Silver Bear Jury Prize at the 1961 Berlin International Film Festival. The tables below list South Korean films that have since won major international film festival prizes.

• Cinema of Korea
• Cinema of North Korea

{{reflist}}

• {{cite book|last=Bowyer|first=Justin|year=2004|title=The Cinema of Japan and Korea|publisher=Wallflower Press|location=London|isbn=1-904764-11-8|url=https://books.google.com/books?id=FtqUAxsisk0C}}
• {{cite book|last=Min|first=Eungjun |author2=Joo Jinsook |author3=Kwak HanJu|year=2003|title=Korean Film : History, Resistance, and Democratic Imagination |publisher=Praeger Publishers|location=Westport, Connecticut|isbn=0-275-95811-6|url=https://books.google.com/books?id=rX8JtHlQpO8C}}
• New Korean Cinema (2005), ed. by Chi-Yun Shin and Julian Stringer. Edinburgh: Edinburgh University Press. {{ISBN|978-0814740309}}

{{commons category|Cinema of South Korea}}

• [http://www.koreanfilm.or.kr/eng/main/main.jsp Korean Film Council]
• [https://eng.koreafilm.or.kr/ Korean Film Archive]
• [https://kmdb.or.kr/main Korean Movie Database] (in Korean)

{{Cinema of Korea}}

{{World cinema}}

{{Asia topic|Cinema of}}

{{DEFAULTSORT:Cinema of South Korea}}