Advanced paper! Help! Graduation thesis about movies!

On the revival of Korean films from the perspective of industrial characteristics

Social background of Korean film revival phenomenon

In the economic field, South Korea has accepted the capitalist economic system, and its economy has developed rapidly since the 1960s. 1997 after the Asian financial crisis, Kim Dae-jung's government adopted a series of pragmatic countermeasures, which not only quickly got out of the shadow of the financial crisis, but also brought a new situation of economic development. South Korea has successfully entered a modern country from an agricultural country, creating the so-called "miracle of the Han River". Modernization is closely related to economic development phenomena such as urbanization, industrialization, popularization of education, specialization of professional division, developed communication and specific social and political changes. In this process, the development of Korean cities is remarkable, and the urbanization rate has increased from 2 1.4% in 1.950 to 8 1.3% in 1.995.

In the political field, in the 1980s, South Korea entered a political thawing period, 1980 Gwangju incident and 1986 democratic movement (note: two popular democratic movements centered on college students protested against military dictatorship, which were responded by all walks of life in South Korea, but were brutally suppressed by the military government. The former is also called the Gwangju People's Struggle and the latter is also called the June Struggle. ) made the North Korean dictatorship notorious. 1988 realized the transition to democracy through a referendum; 1993 civilian government came to power; Then in 1998, an epoch-making "opposition party handed over to the government" appeared in the political history of South Korea (note: 1997 65438+ 18 February, Kim Dae-jung won the presidential election, marking the first "regime change" since the founding of South Korea, in which the opposition party became the ruling party for the first time and the minority party defeated the majority party for the first time. ) of the political development process. Political instability, which has long been debated in Korean society, began to disappear in the 1990s, and the whole society gradually entered the process of democratization and diversification.

The change of political and economic structure not only leads to the change of family structure, but also causes the change of the whole social lifestyle. The middle class has formed and steadily expanded, and the proportion of cultural consumption in consumption expenditure has gradually increased. The opening of cable TV, the expansion of video market, and the prospect of satellite TV, on the one hand, compete for movie audiences, on the other hand, cultivate audiences by playing high-grade movie programs, all of which are movie-centered image industries, making the government and large enterprises pay attention to the value of the movie market.

Pop culture began to prevail. Pop music bands became popular, consumers became younger, product packaging requirements improved, and consumers' demand for pop idols increased.

In the process of social transformation in modern Korea, youth groups occupy a very important position. They are the main force of economic modernization and the driving force of historical changes in social consciousness. According to the statistics of 1995, the population of teenagers aged 14-24 is slightly over 9 million, accounting for 20.2% of the total population. The global political strategy and economic strategy promoted by the South Korean government have made the whole society generally believe that the future destiny of South Korea lies in a "new generation" who can travel around the world with a backpack, know computers, use advanced communication equipment, be calm, have strong perseverance and advocate equality between men and women. (Note: Kim (Han): Korean Movies in 1980s and 1990s, master thesis of Beijing Film Academy, p. 27. Especially college students (accounting for about 54.5% of the total youth population) (Note: Junzuka University (Japan), Wu (middle) and Jin Zhexiu (Korea): Convergence and Conflict of Social Values in East Asia, China Social Sciences Literature Publishing House, 200 1, p. 44. ), they grew up in a prosperous economic environment in the 1980s and had the opportunity to enjoy the economic prosperity and political stability after the 1988 Olympic Games. They will become the main consumers of Korean films.

In the social background that causes the prosperity of Korean movies, we have to point out one factor: the strong patriotism and rare national cohesion of the Korean people. The box office miracle of Korean movies is inseparable from the irrational love and competing participation of Korean audiences in local movies. Many movies, such as "Spying on Life and Death" and "garrison headquarters", can't be criticized by the media, and ordinary people who don't watch them will be considered "unpatriotic". When the government relaxed the "film import quota system", filmmakers immediately demonstrated, and the Korean mass media gave the greatest support, forcing the government to compromise with filmmakers and the public.

The author believes that there are many reasons for this national characteristic: first, South Korea has always been a single nation-state in history, and there is no history of great ethnic integration like China and the United States; They think their blood is the purest and cleanest, and the most common slogan in Korea is "one's native land is unique" (note: "one's native land is unique" is a relatively broad concept. According to the reading materials, the author combs out the following two meanings: First, it is a symbol of loving one's own nation and has complex feelings of attachment and awe to the land where one was born. Reflected in the microeconomic field, most products produced in South Korea are printed with "native products", especially agricultural and sideline products, which are similar to China's "selling domestic products". Secondly, it extends from the point that the relationship between man and land (nature) should be harmonious to a national cultural spirit, which has something in common with China's "harmony between man and nature". "Being native" is not only the tradition of South Korea, but also the concrete content of the "new life movement" initiated by the government since the 1970s, which contains the meaning of urban nationalization and rural modernization. ); Second, the humiliating history of occupation and division in the 20th century gave modern Koreans a strong sense of independence and national pride. Third, the geographical living environment-as Kim Dae-jung said, South Korea is surrounded by the four great powers of the United States, Japan, China and Russia, and itself is a small country with few mountains and few resources (Note: Li Lixu: Revelation of South Korea-A Record of South Korea's Economic Crisis, Enterprise Management Press, 1998, pp. 385-386. ); Fourth, the confidence given by the "Hanjiang miracle" in the economic field; 5. The traditional influence of Korean Confucianism (Note: In the Confucian tradition in China, there is a saying that "China people and foreigners" are distinguished by the existence of morality. Korean Confucianism inherited this statement, and even regarded China polluted by the West as a foreigner in some historical stages. )。

It is very necessary to understand this national characteristic or national cultural psychological phenomenon to explain some Korean film phenomena. This national cultural feature is not a film revival phenomenon that began in the 1990s, but is consistent with Korean national culture, including Korean films.

"As can be seen from the situation after the middle of the 20th century, in the crisis of the Korean War, the problem of survival became an absolute problem. In the 1960s and 1970s, the state became the dominant producer, forming a "nationalist ideology" centered on "national culture". Accordingly, South Korea's modernization is "development under dictatorship", and then "political issues" dominated the speech until the 1970s and 1980s. In other words, after the 1960s, culture was mainly consumed in terms of "ideas" without ensuring its popularity.

"From this perspective, it should be said that the conditions for the production and consumption of Korean cultural theory as' mass consumer goods' were from the late 1980s to the 1990s. After a certain degree of democratization, the influence of' political speech' has declined, and people have a little leisure and confidence to talk about' culture'. Rapid internationalization has also become a kind of pressure, so it is more and more important to set the relationship between yourself and others. " (Note: Full: Theory of Production and Consumption of Korean Popular Culture, Contemporary Korea, spring of 2000, China Social Science Literature Publishing House, 2000, p. 6 1 page. )

Professor Quan Shu Ren from the Institute of Comparative Culture of Seoul National University discussed the reasons for the lack of "Korean cultural theory" as a study of popular culture in the article "Production and consumption of Korean popular cultural theory". The author borrows this passage to illustrate that Korean films, as "mass consumer goods", had production and consumption conditions from the late 1980s to the 1990s.

The emergence of Korean film revival is due to the maturity of external environment such as politics, economy and culture, and the reasonable construction of film industry production, distribution and projection, among which the conscious promotion and development of genre films by filmmakers is an extremely important aspect.

The intervention of big capital changed the pattern of Korean film industry.

Traditionally, there are two sources of film funds, but in the 1990s, there were two major changes in film investment, which greatly affected the film industry and film forms.

1. Industrial background

From the 1950s to the early 1990s, the Korean film industry was basically dominated by the evolution of the American Hollywood film consumption market. 1986 Korea's film market is open to foreign films, and it has quickly become the second largest market in Asia after Japan, with more than 400 films released every year. Among them, 100 is made in China and 300 is imported. Among them, entertainment films in Hollywood and Hong Kong alone account for more than 70% (Note: Quan Yangjun (Korea): Korea: Film Industry, Aesthetics and New Trends, translated by Li, All Aspects of New Asian Films, edited by Taiwan Province Publishing Company, 19 1, p. 1065438. )。 In 1980s, major Korean film companies shifted their profits from investing in local films to importing Hollywood films. Although the government has formulated a "film screening quota system", Hollywood used the opportunity of trade negotiations between the United States and South Korea to force the Korean government to adopt a liberalized film policy. American film companies directly enter the Korean market without monopolizing Korean film companies.

Zhongwu Road (Note: Zhongwu Road is a place name in downtown Han. Since the 1920s, major film studios and cinemas have concentrated here, which is not only the cradle of Korean films, but also synonymous with Korean filmmakers before the mid-1990s. ) is the main concentration of Korean film production companies since the 1920s. For more than half a century, they fought against Hollywood movies with small and medium-sized capital and barely maintained production. There are two sources of film funding, one is the advance payment of local distributors, and the other is video royalties. The policy of "film liberalization" in the late 1980s broke the monopoly of 20 film companies on local films. There were once 100 film companies, which were lively and free to compete, but the scale was very small, there was no order at all, and there was no way to save the situation.

Korean film culture is also deeply influenced by Hollywood film mode. Most of the commercial films under the production mode of Zhongwu Road Film Street adopt the narrative strategy of Hollywood, convincing people with Confucianism, pleasing the audience on the one hand, and not violating the strict film censorship on the other. The types are basically popular sitcoms, historical dramas in costume, B-class action movies and soft porn movies.

2. Big companies set foot in the film industry

The chaebol system is a major feature of Korea's economic development. With the support of the Korean government, Hyundai and Daewoo have played a very important role in the rapid development of the Korean economy. The government also supports them to develop cultural undertakings. In the early 1990s, there was a unique box office movie every year. 199 1 My Love, My Bride is directed by, 1992 Marriage Story is directed by Jin, 1993 The West has created 1 10,000 audiences. The box office myths created by these three new directors have given big enterprises confidence. They believe that as long as the way is correct, investing in movies will definitely pay off.

The Korean consortium invested in the film industry. They buy out the copyright first, and then get their hands on the operation, production, circulation, distribution and other related links of the cinema, and the participation steps are relatively orderly. For example, Samsung, Daewoo and Xianju have mastered the video copyright of most major foreign film companies in a relatively short period of time from the beginning of video marketing. In the field of production, they first participate by buying the video rights of Korean movies.

In order to meet the multimedia era, large enterprises are busy building new cinemas or renting existing cinemas. Samsung, Daewoo, Jing Xian, Bishan and other large enterprises have acquired major cinemas in big cities, or built new compound cinemas to form a chain projection system. Take 1997 as an example. Hyundai Group, which has just set up a film company, leased five movie halls in Seoul Mingbao Theater.

Some big companies joined hands with foreign film companies to enter the film industry. First Sugar Company invested $300 million in American DreamWorks and obtained the Asian copyright of its films. And in cooperation with Hong Kong Jiahe Film Company, JACOM Film Production Company was established in Korea.

For new directors and independent filmmakers who have only good ideas but not enough funds, the involvement of large enterprises is undoubtedly equivalent to giving timely help. The previous Zhong Wulu production system broke the convention of "seniority, saving for the New Year". The new directors who graduated from the Film Academy or returned from studying abroad got an opportunity to show their talents, and also had unexpected opportunities for talented deputy directors and commercial directors. Doctor Feng directed by Li Guangxun-1995, the highest-grossing domestic film; Li Minyong directed a unique feminist film Hot Afternoon.

During the period of 1994- 1996, the investment of large enterprises in the film industry flourished, which completely activated the film market (and laid a hidden danger for future instability). The film production system is rapidly divided, and there are four different film production systems: the original Zhong Wudao production method, the independent filmmaker system, the direct production method of large enterprises and independent films. Many young directors and producers broke away from Zhong Wudao's production system and established an independent filmmaker system centered on directors, such as Kwang-su Park Production, Planning Times and Zhang Yuxi Production.

Large enterprises like movies with high box office value and pay attention to catering to the interests of the younger generation of audiences. They should not only invest money in such films, but also create a good soil for independent filmmakers, so that this new film with creativity as the main factor can take root. They not only produced commercial films with relatively high investment, but also promoted low-cost films with independent production methods to enter the commercial field. In the past three years, movies have taken on a new look, including the action comedy Two Cops (the first and second films starring Jiang), the romantic comedy Dr. Feng (Jiang), the Ginkgo Wooden Bed, which is famous for its special effects, and the sci-fi movie Lotus Blossom. There are also low-budget films with double box office reviews, such as Time Lasts for a Long Time (Jin Yingshou), The Day when a Pig Fell into a Well (Hong Shangxiu), Crocodile (Jin Jide), Horror (Yongbin Jin), Millennium Love, etc., as well as Black Land and White People (BYJ) and Petals (Sun-Woo Jang). The most important consequence of the entry of large enterprises is directly contributing to the formation of the producer system in Korea.

3. Venture capital enters the film industry

1997 after the Asian financial crisis, it was difficult for large enterprises to be independent, and their investment in films decreased rapidly. Many large enterprises withdrew from the film industry one after another. Only Samsung is an exception. 1998 invested in six films, which achieved considerable success.

After the financial crisis, the position of chaebol groups in the national economy gradually declined, and the government actively supported small and medium-sized enterprises. Especially under the policy guidance of venture capital small and medium-sized enterprises, small and medium-sized enterprises gradually began to replace the leading position of chaebol groups in the national economy. Small and medium-sized venture capital enterprises characterized by high-tech concentration have injected new vitality into Korea's bloated and rigid industrial structure in the past

1997165438+1October, the Ministry of Industry and Commerce announced that the film industry and related industries were venture capital industries. This means that film financing is relatively easy and you can enjoy tax reduction and exemption. Venture capital companies quickly occupied the vacancy after the withdrawal of large enterprises. They bring brand-new investment ideas, and at the same time guide independent production companies to make films with more focused themes and strengthen marketing concepts, so the film market is becoming more and more specialized.

Rixin Venture Capital is the most famous investment company on Zhongwu Road. It not only makes investments, but also acts as an investment manager. Its income distribution ratio is quite favorable: 5: 5, while the average large enterprise is 6: 4. From 1996 to 1998, they invested in films such as Ginkgo Wooden Bed, Internet Access, Hallelujah, Christmas in August, Quiet Home and Exorcism.

The Influence of Film Policy and Film Culture on Film

1. Film policy

Film censorship system

South Korea's film censorship system was formed during the Japanese occupation in the 1920s. The strict censorship system in 1980s and 1990s seriously hindered the healthy development of movies. 19961010.4, the court declared the review by the film distribution ethics committee unconstitutional. This has ended the film censorship system for more than 70 years, and at the same time, it has raised a new urgent problem: establishing a hierarchical classification system. During the period of 1998, the differences between the younger generation and the conservatives became more and more serious around the new film law (the film revitalization law enacted in 1994), and the focus of the problem was to set up a special extracurricular film hall and film revitalization Committee.

For Korean films, the current hierarchical classification system provides a broader theme space and performance space. The series "Two Policemen" exposed the police's illegal behavior, "Beautiful Youth is Too One" criticized the military dictatorship system in the 1970s, and "Petals" exposed the Gwangju incident of suppressing the masses in the 1980s. 1999 Two films, Yellow Hair and Lies (Zhang Xianyu), were banned for exposure, which caused widespread controversy. However, the film barely passed the review after revision and was a great success in the market.

Film screening quota system

Park chung-hee's military government began to implement the quota screening system in 1966, aiming at filtering out some western influences. But in the following years, it became a safety net to protect national films. The government legislates that every cinema should show domestic films 146 days at least every year, which is the so-called "screen quarter system".

After the mid-1990s, there were several arguments in South Korea that advocated reducing or even canceling the film screening quota system. 1998 65438+On February 2, the Ministry of Foreign Affairs and Trade of the Republic of Korea proposed to reduce the quota of 106 days to 92 days from 2002 with reference to the bilateral investment agreement with the United States. The film industry is worried that if this proposal is passed, Hollywood's flood of commercial blockbusters will gradually drown out local films. A large-scale demonstration in the film industry initiated by famous directors and stars broke out. 1In June 1999, the film industry held two more demonstrations. The South Korean government was forced to make concessions and temporarily maintain the quota system until local films occupied 40% of the market.

Although the quota screening system has damaged the interests of the Korean film industry to some extent-the number of Korean film screenings dropped from 640 in193 to 502 in197, and the output dropped from 63 in193 to 59 in197. However, as a special cultural product with strong ideology and national characteristics, movies should be independent of free trade agreements, and it seems that an understanding has been reached in countries outside the United States.

Economic policy regulation

In order to revitalize national films, the Korean government initiated policy regulation at least three times in the 1990s. In the early 1990s, in order to encourage big consortia to enter the film industry, a tax reduction and exemption policy was formulated to revitalize the film industry. 1997 after the implementation of mortgage copyright financing system. For example, in 1998, the state-owned film promotion company provided mortgage copyright financing for 10 films, and * * * provided 3 billion won. In the film 10, Lin Quanze participated in the story of spring fragrance at Cannes Film Festival. The third measure, which is equally important, is to bring the film industry into the venture capital industry of 1997.

2. Popularization of film culture

As mentioned earlier, in the first half of the 1990s, popular culture and other entertainment media had a double influence on movies. Popular music, TV series and other popular cultures have become increasingly prosperous, the general cultural quality of the audience has improved, and the star system has been initially established. After all, calling for and supporting movies is greater than robbing movie audiences. From 1995, Korean film culture ushered in a period full of vitality. Taking the opportunity of commemorating the 0/00th anniversary of the film's birth/kloc-0, the enthusiasm that has been rising since the 1990s finally broke out.

Seven foreign art films were shown at the grand prize-winning film festival in March, 1995. In June of the same year, 5438+065438+ 10, the film production company "Baitou Dagan" set up a professional art film museum to display world-class art films such as the former Soviet Union film Sacrifice, the Iranian film Where is My Friend's Home, and the Lover under the Olive Tree. The film Sacrifice alone attracted more than 20,000 viewers in a month. Film publishers began to pay attention to the possibility of commercialization of "art films". This year, Wong Kar-wai's "Ashes of Time" and other three films were released in South Korea, and the audience of each film reached more than100000. At the same time, the classic films in film history have entered thousands of households through cable TV. With the help of these positive market guidance and development, audiences who were only familiar with Hollywood and Hong Kong commercial films began to change their impressions and understanding of movies.

The mass media began to actively report film news and introduce film knowledge. In this year, the monthly magazine Keno and the weekly magazine CINE2 1 were published. They introduced the latest news of Korean and international film circles to the Korean people in a refined and popular way. KINO has become the most authoritative film magazine in Korea.

After the mid-1990s, South Korea's film craze evolved into a film culture craze, and more than 40 film-related majors were set up in Korean universities. Film lectures in universities are crowded with students of different majors. Korea National College of Comprehensive Arts established the Film Academy and purchased complete film production equipment.

film festival

In a short time, South Korea also held two large film festivals in Busan and Fuchuan, as well as dozens of small film festivals. Among them, Busan Film Festival has been held for six times, making it one of the most important international film festivals in Asia. Busan International Film Festival was founded in 1996, proposed by Busan Art School and the Film Department of the Second Central University, and supported by Busan film industry and Busan municipal government. 1996 The first Busan International Film Festival 10 in June achieved a good result of184,000 person-times. (Note: Dong-ho Kim (Korea): "Backing the Development of Asian Films-A Record of Busan International Film Festival", Koryana Magazine (Korea), spring 2000, Chinese version, p. 24. )

Among the film festivals in many Asian countries, the unique strategy of Busan Film Festival deserves attention. First, its initial positioning is "non-competitive film festival", avoiding unnecessary competition with other film festivals (such as world-class film festival and Tokyo International Film Festival), focusing on its role as an Asian film booth and showing the best international films. The second is its two special plans. "New Wave Movies" and its supporting system: select the first and second works of emerging Asian directors to be released, push them to the international stage, and give the distributor a subsidy of 30,000 US dollars to ensure the distribution and screening of these films in South Korea; Busan Revitalization Plan (PPP Plan, which started at the 3rd Busan Film Festival on 1998): To create cooperation opportunities for Asian directors with film production plans, world-class distribution companies, producers and sponsors, and promote cooperative investment, co-production or sponsorship of film post-production. Directors from Hongkong, Taiwan Province, Japanese, Chinese mainland's Jia, and Wang Xiaoshuai all benefited from the PPP program. Busan Film Festival has made a real contribution to the growth of Asian film newcomers.

Busan Film Festival not only provides opportunities for Korean films and Asian art films, expands the film market, but also exchanges with many international film festivals, making Korean films enter international booths in large numbers. In 1999 alone, 80 Korean films were shown in 73 countries and regions 150 times, including Cannes Film Festival and Berlin Film Festival. In addition, Busan Film Festival itself has also produced considerable economic benefits, providing an important opportunity for the development of Busan film and television industry. The Busan municipal government chose the film and television industry as a strategic industry, established the Busan Film Committee, promoted the establishment of the Busan Documentary Museum and a number of multi-functional cinemas, and successively established a film and television information city, a theme park and an animation center to provide administrative and financial support for films related to Busan. (Note: Dong-ho Kim (Korea): "Backing the Development of Asian Films-A Record of Busan International Film Festival", Koryana Magazine (Korea), spring 2000, Chinese version, p. 29. Among them, the background of Friends is Busan.

Generally speaking, the most fundamental function of the film festival is that it has become an "event" in Korean popular cultural life. Together with newspapers, television, pop music and other mass media, they constructed the ideological background of the emergence and development of Korean film renaissance.

3. The prosperity of documentaries and short films

The development of short films and documentaries is an extremely important phenomenon in Korean film industry in 1990s. Up to 1999, South Korea has produced more than 300 short stories every year and shown them at various film festivals at home and abroad.

documentary

In the 1980s, a number of film groups originated from university campuses appeared in South Korea. They flaunt "independence" and "progress" and oppose both official films and commercial films, as well as experimental films and author films. Instead, they tried to combine progressive cultural groups and the working class to shoot documentaries, and replaced the distribution of commercial films with the circulation of video tapes.

In the late 1980s, with the support of politically active groups, progressive trade unions, student unions and other mass organizations, they made a number of films reflecting social contradictions in South Korea. Film Studio (established in 1987) and Laborer Studio (established in 1989) are the two most important underground film groups. The Republic (16mm,110min) filmed by the former is the first time to deal with the Gwangju incident in the form of drama. 1990 On the Eve of Strike (16mm, 100 minutes) is a feature film that faithfully depicts the workers' movement and becomes a milestone of independent films. Due to the government's ban, the film was shown on campus and in the labor union auditorium, and the police even dispatched helicopters to throw tear gas to disperse the audience. The Workers' Production Troupe is a breakthrough in the progressive documentary. They produced more than ten episodes 1 hour news films, focusing on the latest topics of the Korean workers' movement. In fact, these film groups have established independent distribution channels for campus, factory screening and video tapes.

If the content of independent films in the 1980s was dominated by the workers' movement, with a strong political orientation against the government and a value orientation biased towards collective values, the same space took precedence over personal and daily space. Since 1990s, independent films have become diversified and complicated, trying to reflect the rich social life in various ways.

In the documentary, Bian's Trio (1994- 1999) exposes sexual violence and militarism with the testimony of women who became Japanese comfort women during World War II. Li Qinshun's Dandelion (1999) shows the sadness and courage of a father who lost his beloved son in the struggle for democratization. Hyung-sook Hong's Real Name Declaration (1998) describes the wandering experience of an overseas Chinese living in Japan and South Korea. Park Ji-fu's Leave Us alone (1999) takes runaway teenagers and domestic violence as the material, describing the marginal social class where the institutional and anti-institutional forces are indifferent. These documentaries generally no longer use narration or interviews to guide the audience, but try to restore life itself through objective records.

Director Jin Dongyuan began to follow the housing rights of the relocated households in urban development zones in the late 1980s, and made three films successively: Shangxi Cave Olympic Sports Center (1988), Xingtang Cave Man (1995) and Another World (1999). "Another World" filmed the life of the relocated households after they obtained the right to live in the development zone. The focus of attention has shifted from privileged ideology to the politics of daily life, and its core concern is the understanding and communication between people in modern society. The author believes that without these materials, it is impossible to fully understand the phenomenon of Korean film revival, and it is also impossible to carefully understand Korean genre films, such as the author's gangster film "Black Fish" and "Beat".

featurette

The prosperity of short films is another important film phenomenon in the 1990s. In the 1980s, the average annual output did not exceed 50 films, and in the 1990s, it reached more than 300 films (Note: South (Korea): aesthetics of differences, politics of daily life —— Comments on Korean film short films and documentaries in the 1990s, Koryana magazine (Korea), spring 2000, Chinese version, 30-35 pages. ), mostly from film majors and amateur film lovers. The Seoul Short Film Festival initiated by Samsung in the early 1990s is not only a grand event for short films, but also a place for commercial film companies to find new people. (In April 2002, Samsung sponsored the DV Short Film Festival in Beijing. In the late 1990s, Korean short film festivals increased, mainly including independent film forums, independent short film festivals and Busan Asian short film festival. Many Korean short films have also participated in a large number of international short film festivals such as Cannes and achieved good results.

South Korea's documentaries and short films in the 1990s have three meanings: 1. It provides new film talents for the mainstream film industry, enlivens the film atmosphere, directly promotes the revival of Korean films, and stimulates their development to some extent; 2. In the field of theme and expression, it effectively makes up for the fields that commercial films dare not set foot in, complements mainstream commercial films and becomes the catalyst of new film aesthetics; 3. It is one of the deep-seated reasons for the healthy development of Korean films to maintain the benign interactive relationship between film industry and social culture and art and balance the triple effects of film as industry, art and ideology.

For reference only, please learn by yourself.

I hope it helps you.