Please use this identifier to cite or link to this item: https://scholarbank.nus.edu.sg/handle/10635/201204
Title: A GLOBALIZED CINEMA AND THE IMPLICATIONS ON PRODUCER AUTONOMY IN SOUTH KOREA
Authors: FONG HOY MAY
Issue Date: 10-Apr-2021
Citation: FONG HOY MAY (2021-04-10). A GLOBALIZED CINEMA AND THE IMPLICATIONS ON PRODUCER AUTONOMY IN SOUTH KOREA. ScholarBank@NUS Repository.
Abstract: This thesis examines the implications of globalization on producer autonomy in the film industry of South Korea. First, I examine how the political economy of the contemporary South Korea film industry has been shaped by the effects of globalization, which is situated against the backdrop of the hegemonic dominance of Hollywood. Second, I attempt to evaluate the level of producer autonomy enjoyed by South Korean filmmakers in the production of films. In doing so, I explicate how the aforementioned effects of globalisation have influenced said autonomy, and identify areas where filmmakers have been able to adopt specific strategies to maintain their creative control in the process of production. I argue that the viability of commercial blockbusters and hybridization strategies such as genre-bending allow filmmakers to negotiate the constraints and complexities of globalized cinema to produce films which provide social commentary of South Korean society. More specifically, my thesis approach aims to enrich cultural globalization discourse analysis beyond the center-periphery thesis (Wallerstein, 2004) which inform cultural imperialism (Salwen, 1991) and media imperialism (Tomlinson, 1991) arguments. Appadurai’s (1990) theory of global flows is used to explicate the trend of subaltern flows (Thussu, 2007) from peripheries which stem from cultural hybridization (Pieterse, 1995) processes such as genre-bending (Paquet, 2000). Bourdieu’s (1993) conceptualizations of autonomy in cultural production as well as Hesmondhalgh’s (2006) subsequent critique of it is used as a means to analyze producer autonomy. A unique synthesis of the two theories will then be tested against the context of the South Korean film industry to gain a better understanding of Bourdieu’s conceptual limitations within a globalized society. The research draws upon historical material and archival records, as well as statements by key figures within the South Korean film industry to better understand the dynamics of its political economy. As a largely theoretical piece of work, this thesis is meant to situate the South Korean film industry and its pool of talented filmmakers amongst the existing corpus of global cultural theories. In testing the synthesized theoretical framework of producer autonomy against the South Korean film industry, key areas within the established theoretical frameworks by scholars in the field of cultural studies will be identified for potential revisitation or revitalization.
URI: https://scholarbank.nus.edu.sg/handle/10635/201204
Appears in Collections:Bachelor's Theses

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