South Korean films have been heavily influenced by such events and forces as the Korea under Japanese rule, the Korean War, government censorship, the business sector, globalization, and the democratization of South Korea.[5][6]
The golden age of South Korean cinema in the mid-20th century produced what are considered two of the best South Korean films of all time, The Housemaid (1960) and Obaltan (1961),[7] while the industry's revival with the Korean New Wave from the late 1990s to the present produced both of the country's highest-grossing films, The Admiral: Roaring Currents (2014) and Extreme Job (2019), as well as prize winners on the festival circuit including Golden Lion recipient Pietà (2012) and Palme d'Or recipient and Academy Award winner Parasite (2019) and international cult classics including Oldboy (2003),[8]Snowpiercer (2013),[9] and Train to Busan (2016).[10]
With the increasing global success and globalization of the Korean film industry, the past two decades have seen Korean actors like Lee Byung-hun and Bae Doona star in American films, Korean auteurs such as Park Chan-wook and Bong Joon-ho direct English-language works, Korean American actors crossover to star in Korean films as with Steven Yeun and Ma Dong-seok, and Korean films be remade in the United States, China, and other markets. The Busan International Film Festival has also grown to become Asia's largest and most important film festival.
American film studios have also set up local subsidiaries like Warner Bros. Korea and 20th Century Fox Korea to finance Korean films like The Age of Shadows (2016) and The Wailing (2016), putting them in direct competition with Korea's Big Four vertically integrated domestic film production and distribution companies: Lotte Cultureworks (formerly Lotte Entertainment), CJ Entertainment, Next Entertainment World (NEW), and Showbox. Netflix has also entered Korea as a film producer and distributor as part of both its international growth strategy in search of new markets and its drive to find new content for consumers in the U.S. market amid the "streaming wars" with Disney, which has a Korean subsidiary, and other competitors.
^ ab"Table 8: Cinema Infrastructure - Capacity". UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 12 March 2018.
^"Table 6: Share of Top 3 distributors (Excel)". UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 12 March 2018.
^"Table 1: Feature Film Production - Method of Shooting". UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 12 March 2018.
^ ab"Table 11: Exhibition - Admissions & Gross Box Office (GBO)". UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 12 March 2018.
^Cite error: The named reference :0 was invoked but never defined (see the help page).
^Paquet, Darcy (2012). New Korean Cinema: Breaking the Waves. Columbia University Press. pp. 1–5. ISBN 978-0231850124..
^Cite error: The named reference :1 was invoked but never defined (see the help page).
^Chee, Alexander (16 October 2017). "Park Chan-wook, the Man Who Put Korean Cinema on the Map". The New York Times. ISSN 0362-4331. Retrieved 13 March 2018.
^Nayman, Adam (27 June 2017). "Bong Joon-ho Could Be the New Steven Spielberg". The Ringer. Retrieved 13 March 2018.
^Jin, Min-ji (13 February 2018). "Third 'Detective K' movie tops the local box office". Korea JoongAng Daily. Retrieved 13 March 2018.
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