In What Ways Has the South Korean Film Industry Adopted and Adapted the Hollywood Blockbuster Model - Essay Example

SOUTH KOREAN BLOCKBUSTER FILMS Name: Course Instructor’s name Institution City/State Date Introduction Since 1990s, South Korean film industry has marked a great deal of success in their productions. Before the 1990s, their films were not popular, and they were facing very serious competition from Hollywood. At this time, film import barriers were dismissed I South Korea and this made South Korean films to lack market at their own place of origin. The success story of Korean film can be traced back 1990s when South Korean film industry started adopting some aspects from Hollywood films. In order to easily identify the similarities and differences between South Korean blockbuster films and Hollywood blockbuster films, it is important to focus on the themes in the films, the actors, the producers and directors among other crucial elements in film making industry. Today, various blockbuster South Korean films are so similar with Blockbuster Hollywood films. The essay sets out to explain this phenomenon, and clearly show the comeback story of South Korean film Industry. The essay discusses ways in which the South Korean film Industry has begun to emulate Hollywood’s blockbuster model of production, marketing and distribution of South Korean films other regions outside this country. The adoption has also come with a change in perception among the end consumers of the films, as well as other social and economic impacts in South Korea. The study of the History of the South Korean film undustry shows that the film directors have restlessly been trying to break out from the competitive nature of their country’s market in East Asia. The directors have also focused on the West. To attain the attention of the Western market, the directors have to emulate some aspects and themes commonly found in Hollywood blockbuster films. The impact of their action of emulating Hollywood has been felt strongly at Hollywood and the rest of the world. Globalization has to do with changing the traditional ways of doing things and doing things the modern way so that you respond to the needs of your local consumers and the entire globe. In this perspective, we can therefore argue that the South Korean films industry has adopted the production, distribution and marketing strategies of Hollywood with the intention of increasing their competitiveness in the South Korea and the entire world (SHIN 2005). Since 1990s, South Korean film directors have produced their First English language films that often feature top name American Actors from Hollywood. The use of Hollywood actors in South Korean films increases their popularity. It comes with a long list of fans from United States, South Korea and the entire world. Producers in Hollywood are also glad to see the talent and dedication of Korean film directors in the specialization of popular categories such as crime and horror. South Korean blockbuster films have one thing in common with Hollywood blockbuster film model. The marketing model used by Hollywood is the same that is used by South Korean films; the marketing model focuses a lot on the international market. Therefore, the thematic concerns in their entertainment films and documentary have to respond to social needs of the people living in South Korea and the rest of the word. Today South Korean Block Buster films sell both in the United States and Eastern Asia. Since 1990s, film making in South Korea has become very diverse. The film industry in this country today composed of various types of films such as short films, documentaries and independent feature films among others. It has increased the chances of production of blockbuster films in South Korea. In Hollywood, all film directors compete to get the attention of the viewers. Therefore, they have to appeal to the needs of the viewers and ensure that the quality of their films is above the expectations of their consumers. Since 1990s, South Korea has also adopted this phenomenon. Film directors in Hollywood are very keen when it comes to special effects. Although South Korean Blockbuster films have also been working on special effects, they have not quite reached the level of using special effects that are found in Hollywood films. Hollywood blockbuster films such as Fast and Furious are the standard films that every film director in the entire world aspires to produce. The big difference between the use of special effects in both Hollywood and South Korean films could be explained by the fact that Hollywood has many resources and support from various international Organizations in US. For example, the budget for the South Korean Blockbuster films is away less compared to the budget of any Hollywood Blockbuster film. A comparison between the film productions, marketing and distribution model, used in both Hollywood, and South Korean Films shows that both film industries demonstrate talent. There is a strong talent in South Korea, just as it is in Hollywood. The only difference that comes in the end product is a reflection of the difference in access to resources. Hollywood blockbuster films are better than South Korean films since Hollywood invests many resources in the process of producing a single film. Hollywood has specific high standards for their films, unlike South Korea. Reviews from most viewers tend to show that some views like South Korean movies than Hollywood productions. The history of the Korean film world is broad, and it shows a dynamic change and adoption of many aspects found in Hollywood blockbuster films. Film distribution companies in South Korea make much money by selling films outside South Korea. The productions of South Korea focus on thematic concerns of our time such as politics, war and culture. In fact, some people think that South Korean blockbuster films feature these themes better than films produced at Hollywood. Directors from East Asia are very good at spotting the talents of actors in the Korean film industry. To some extent, their blockbuster productions are better than Hollywood productions (Hye Ryoung, 2009). For example, a film such as “Chaser” is an excellent South Korean blockbuster film. In this film producers should probably allow the film directors to eliminate western elements and encourage South Korean sensibilities. Most critics argue that South Korean Movie directors include westernized themes so that they can easily access funds to finance their films. South Korean film industry depicts diversity. Blockbuster films from the country since 1990s have been very successful and attracted a huge fan base. For example, the film, “Mother” is incredible. It is a unique and mind-blowing thriller film. The director of the film is Bong Joon, and the character development that he uses is enough to make a director like Alfred Hitchcock jealous. The movies feature Kim Hye-ja, who makes an excellent actress, as she sacrifices everything for her son. When the movie is compared with other Blockbuster Hollywood films, it appears extremely competitive (LEE, 2000). The movie shows evidence to show that South Korean film industry has developed rapidly over the last forty years. Another notable film produced in South Korea is “Joint Security Area." It is one of the oldest films in South Korea film production industry. The Movie has been directed by Park Chan-Wook, who has also directed Old Boy. This 2000 movie explores the death of a South Korean Soldier after a heavy shot out in the DMZ. The characters in the movie suggest that the death of this soldier is political. Therefore, they launch an investigation to find out the cause of the security Guards death. The findings of the investigation are both revealing and perplexing. The film sends a serious message to the entire human race. The films explore the theme of politics in an impressive way. The film has been written by David Franzoni, who is the same person who wrote “Gladiator.” These two films show that the South Korean blockbuster films resemble Hollywood films in the sense that they have both talented and experienced directors (CHOI, 2010). Most of these movies come from an existing book or play. The authors of the films are important aspects of the entire production process. They guide the movie directors on factors such as the thematic concerns, the settings of the films and how to communicate the thoughts of the author in the entire film (KIM,2010). In a blockbuster South Korean film such as old boy, the directors feature the “Vengeance trilogy” in a very impressive way. The storyline is bizarre and commands the attention of the audience. When it is compared with Hollywood Blockbuster films, it is clear that South Korean directors have emulated some aspects found in Hollywood to come up with very entertaining films (Jinhee, 2010). The best thing about these South Korean films is that they adopt some aspects from Hollywood such as production technology as well as marketing, and they combine the same with the South Korean setting. The combination of these elements comes up with utterly interesting films that can sell in South Korea, and the rest of the world. Conclusion In conclusion, it is undoubtedly clear that South Korean films have adopted and adapted a number of aspects from Hollywood films. The reaction of their audience has been different, but most audience remains impressed by the talent of South Korean actors, producers and directors. Critics argue that the blockbuster films in South Korea adopt some elements from Hollywood so that they get attention and financing of their films from the United States (AHN, 2012). However, the truth remains that everyone requires a person to look up to. In order to be competitive, South Korea has to adopt a blockbuster model used in Hollywood. Adoption of this model facilitates diversity I the South Korean film making industry. The model assists them to come up with films to address the needs of all audiences in the globe. The differences between the South Korean Blockbuster Model and Hollywood exist to make South Korean film industry unique (PAQUET, 2009). It is this uniqueness that makes them fit in so easily to the audience in South Korea and the rest of the world. References List AHN, S. (2012). The Pusan International Film Festival, South Korean cinema, and globalization. Hong Kong, Hong Kong University Press. CHOI, J. (2010). The South Korean film renaissance: local hitmakers, global provocateurs. Middletown, Conn, Wesleyan University Press. Hye Ryoung Ok, “The Politics of the Korean Blockbuster: Narrating the Nation and the Spectacle of ‘Glocalisation’ in 2009 Lost Memories,” Spectator, 29:2 (Fall 2009), pp. 37-47.  Jinhee Choi, “Blockbusters, Korean Style” in Choi, The South Korean Film Renaissance – Local Hitmakers, Global Provocateurs (Connecticut: Wesleyan University Press, 2010), pp. 31-59. KIM, H. (2010). South Korean cinema and hybridity of East Asian identity: a study of South Korean cinema's place in (re)construction of East Asian identity. Charleston, S.C.?, Create Space]. LEE, H. (2000). Contemporary Korean cinema: identity, culture and politics. Manchester [u.a.], Manchester Univ. Press. PAQUET, D. (2009). New Korean cinema breaking the waves. London, Wallflower. http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=490818. SHIN, C.-Y., & STRINGER, J. (2005). New Korean cinema. Edinburgh, Edinburgh Univ. Press. Read More