Han, S, H, 2011, Globalization and hybridity of Korean cinema: critical analysis of Korean blockbuster films, The University of Texas at Austin, pp.1-43

This article introduces the view that current South Korean film (“Hallyu – Korean Wave”) has reacted to the powers of globalisation by allocating, influences both on and off screen. Specifically, by arranging Korean blockbusters within its local, territory and global settings, Han features how the personality or identity of governmental issues in Korean blockbusters confuse our comprehension of globalisation and national film. The second section of the article centres around the globalisation of South Korean film, with detracting consideration given to ‘hybridity’ theorised by (Wang 2008) as an industrial system that was formed by intra-local co-productions.

The third section investigates four Korean movies in which was re-made by Hollywood; “The Lake House” (Alejandro Agresti, 2006), “My Sassy Girl” (Yann Samuell, 2008), and “The Uninvited” (Charles Guard, Thomas Guard, 2009). Within the two critical sections, Han contends that Korean blockbusters are hybrid formed between national film and Hollywood blockbusters. It is a local reply to the quickening powers of globalisation at home, apparent in the developing direct rivalry within Hollywood blockbusters. Despite the developing dependence on the immense spending blockbusters, the current ascent in the domestic market share of local films against Hollywood motion pictures owes much to the prominent achievement of numerous Korean blockbusters.

Parc, J, 2018, Evaluating the Effects of Protectionism on the Film Industry: A Case Study Analysis of Korea, Handbook of State Aid for Film, Media Business and Innovation, Springer, Cham, pp.349-366.

Han expresses that the criticalness of the instance of Korean Cinema is multifaceted in our extensive comprehension of globalisation and hybridity. It outlines that globalisation as hybridisation happens at different levels and in numerous ways past the traditional local- global worldview. In taking note of intra-local trades as vital to the development of the present hybridities. Han trusts that the contented study has regionalisation and localisation effectively and has added to the globalisation procedure. Furthermore, Han brings up that finding hybridity outside of Western authority in the intraregional social dynamic, which likewise opposes the Eurocentric approach that tends to see hybridity as just created through a nearby allotment of the worldwide Hollywood model, which is frequently suggested even in acknowledgment of hybridity as an obstruction against hegemonic control (Han 2011).

(Film, Movie Cinema camera , GIF, Giphy Images)

This article chapter investigated whether Korean cinema policies have been influential for the accomplishment of the Korean cinema industry. The real finding of this examination was that protectionist arrangements in the film business had assumed an immaterial role. The author stated that the import quota administration did not confine the span of the Korean groups of onlookers that watched foreign movies but instead unequivocally initiated Korean producers to deliver low-quality films. Second, the screen quota framework has not guaranteed that the local audience will watch these films (Karmasin 2018). At long last, the subsidy arrangement was scarcely discernible before the late 1990s and is presently past the point of no return and too little to possibly be credited for any considerable effect on the accomplishment of the Korean film industry which started from the mid-1990s. The consequences of this part recommend business exercises under market-accommodating conditions be the critical factors for upgrading the intensity of the film business. Besides, it prescribes that policymakers in different nations audit their particular arrangements that supporter protectionism as an approach to make their film industry more aggressive and appealing (Parc 2018).