South Korea's Film Dilemma in the U.S. Market: "Copywood"1 or Asian New Wave?
These two films' approach to Hollywood was quite different. Shim, the director of D-War, focused on Korea's advanced computer graphic (CG) technology, oriental story and huge scale like Hollywood films. On the other hand, The Host followed the common blockbuster's approach much like other Korean films previously exported. The Host delivered a social message to Korea which represented the relationship between the U.S. and Korea. It was highly appraised because this serious meaning intertwined well with a monster genre film. The purpose of this research is to explain those films' production, marketing, distribution, and exhibition processes and discuss their achievement and failure as a foreign challenge to Hollywood.
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Document Type: Research Article
Publication date: September 1, 2008
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- Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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