With the disintegration of the Cold War system and the transformation of the social and economic structure, the Chinese and Korean film industries have undergone earth-shaking changes since the early 1990s. The first is the reform of the film production and distribution system, which provides a material basis for the integration of film and capital markets. Secondly, in the process of accelerated globalization, the themes and genres of films have become more diverse, in the process of seizing market quota with Hollywood movies, how to position the national films of the two countries have become the most concerned topic of the filmmakers. Just as China's fifth generation of directors won the attention of the West with the national fables of "Iron House" and "Rural China" in the 1980s, they successively made works such as "The Blue Kite", "Farewell My Concubine" and "Life" that examined historical reality in the early 1990s, to reconstruct the collective memory of "China", and also won the global pinnacle moment of Chinese film. At the same time, Korean films got rid of the shackles of ideological censorship, and reproduced historical memory and national trauma with films such as " To the Starry Island", " A Single Spark" and "A Petal", which opened the new wave of Korean films. Therefore, this article re-explores the historical trauma films of China and South Korea in the 1990s from the perspective of national films, and explores how Chinese and Korean films reconstruct the ‘state-nation’ cultural identity through historical trauma narratives.
Xiaoman Liu, Seoul National University, South Korea
About the Presenter(s)
Dr XIAOMAN LIU is a University Doctoral Student at SEOUL NATIONAL UNIVERSITY in South Korea
See this presentation on the full schedule – Sunday Schedule