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Cinema of Korea

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limits on the number of foreign films able to be shown per theatre per year, but this was mostly due to the growth of the Korean entertainment industry, which quadrupled in size during this period. In the theaters, Korean films must be played for 73 days per year since 2006, a similar restriction that exists in countries like the UK and France. On cable TV 25% domestic film quota will be reduced to 20% after KOR-US FTA. It has been noted that Korean movies have consistently outperformed foreign with very few exceptions in the Korean box office.
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war, he changed his name to Dr. Huyung, married an Indonesian woman with whom he had two sons, and produced three important Indonesian films. Before his death in 1952, he told a close friend, "If I returned to Japan now there wouldn't be any jobs for me and if I returned to Korea, I'd most likely be branded a Japanese collaborator." Although the Japanese Colonial Administration officially banned the Korean language, the Japanese film studios operating in Korea continued to make films with characters who spoke it until the end of the war.
2802: 2704: 4789: 84: 2669: 2767: 3432: 537: 4775: 1243: 24: 564:, "Motion pictures have finally been introduced into Joseon, a country located in the Far East. At the beginning of October 1897, motion pictures were screened for the public in Jingogae, Bukchon, in a shabby barrack that was borrowed from its Chinese owner for three days. The works screened included short films and actuality films produced by France's 938:
Imported films largely replaced domestic films, although with Korean General Law No. 40 of 1933, the Japanese mandated that all foreign films distributed in Korea should be imported through Japan. “Although some of them were very popular with Korean audiences, the supply was limited overall, and some
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promoted the "volunteer" enlistment of Koreans into the imperial Japanese Army and carried as a subplot the interracial marriage between a Japanese woman and a Korean man. After the film was completed, Hae went to Java in Indonesia where he continued to make documentaries for the Japanese. After the
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or "Japan and Korea as one body." Although Japanese film production in Korea began in the early 1930s, total mobilization and consolidation of the Korean film industry under the Japanese would not begin until after Japan's full-scale invasion of China in 1937. Film was an important way by which the
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In a comparison of the number of films produced in Korea, there were 166 films produced in the early period from 1919 to 1945, 86 films produced in the period from 1946 to 1953 and 2,021 films produced in the period from 1954 to 1970. The tax exemption measures, the introduction of the latest film
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Korea was one of Japan's first and most important centers of colonial film production. Japanese-sponsored shorts, newsreels, and feature films heavily promoted cultural assimilation to colonized Korean audiences. To this end the Korean Colonial Cinema Unit (朝鮮総督府キネマ) was established to produce and
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The first half of the 1930s saw a decline in the domestic film industry in Korea. Censorship and oppression on the part of the occupying authorities played a part in reducing the number of films produced at this time to only two or three per year, and some filmmakers fled Korea for the more robust
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South Korean films enjoyed a "Golden age" during the late 1950s and 1960s, but by the 1970s had become generally considered to be of low quality. Nonetheless, by 2005 South Korea became a nation that watched more domestic than imported films in theatres. This was partially a result of laws placing
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The introduction of the import quota system for foreign films and the consequent import regulations under the 1970s prompted fierce competition to win the right to import foreign films rather than the development of Korean films, and the fall of Korean films began slowly in the mid-70s.
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captured some of the most footage of Korea ever by a single person by that point. He did this in order to document Korean culture in case it was wiped out by the Japanese colonization. He then returned to Bavaria and edited the footage into a feature-length documentary,
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inspired a burst of activity in the Korean film industry in the late 1920s, causing this period to become known as "The Golden Era of Silent Films". More than seventy films were produced at this time, and the quality of film improved as well as the quantity.
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to domestic governmental interference. While both countries have relatively robust film industries today, only South Korean films have achieved wide international acclaim. North Korean films tend to portray their communist or revolutionary themes.
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Japanese maintained colonial control in Korea through the promotion of assimilationist policies. For example, in 1941 Japan's Shochiku Studios together with the Japanese-sponsored Korean Military Information Division co-produced the film
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also functioned "as a cultural intermediary during the Korean audience’s film-viewing experience, and utilized his narration to complement censorship or technological limitations during the silent film period." Some of the more popular
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tradition in Korea, when Japanese authorities were not present the narrators could inject satire and criticism of the occupation into the film narrative, giving the film a political subtext invisible to Japanese government censors. The
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For the next few years, film production in Korea consisted of the kino dramas and documentaries. As with the first showing of a film in Korea, the first feature film produced in Korea also appears to be unclear. Some name a filming of
632:) in 1895, is the first. Before the creation of a domestic film industry, films imported from Europe and the United States were shown in Korean theaters. Some of the imported films of the era most popular with Korean audiences were 1011:
Japanese film censors replaced American and European films with Japanese films as part of the larger colonial project to culturally colonize Korea. Japanese films set in Korea appealed to audiences in Japan as a form of exotica.
1182:(겨울여자) in 1977. The emergence of Lee Jang-ho, Kim Ho-seon and Ha Gil-jong in the 70s was part of a generational shift in directors and a prediction of the young directors with new senses. In 1974, director Lee Jang-ho's 1038:
Most of the movies in 1946 and 1947 right after Korea's liberation from Japan's colonial rule were films that expressed the thrill of Korea's liberation. In 1946, Choi In-kyu founded the Goryeo Film Company and released
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immediately recognized and alerted audiences to the obvious parallels between the conditions of the Jews onscreen with those of the Koreans under Japanese colonial rule resulting in the film setting off a near riot.
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in Japanese) appeared in Korea almost from the beginning of the showing of film in the country. As in Japan, this became an integral part to the showing of silent films, especially for imported films, where the
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did not have an overtly political theme. However hidden or subtle messages could be magnified through the common use of a live narrator at the theater. A newspaper article of 1908 shows that this tradition of
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was the first to film in Korea as part of his travelogue programs. In addition to displaying his films abroad, he showed them to the Korean royal family in 1899. An announcement in the contemporary newspaper,
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narrators with the coming of sound film meant that anti-authority messages could no longer be sneaked around the censors in this way. On such example occurred with the importation of the American silent film
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Korean film studios at this time were Japanese-operated. A hat-merchant known as Yodo Orajo established a film company called Choson Kinema Productions. After appearing in the Choson Kinema's 1926 production
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of those coming from Japan were so worn-out that the facial expressions of the actors were blurred. Narrators could nevertheless make even worn-out movies interesting and make up for a cinema’s poor offer.”
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Coming as they did during the mid- to late-1930s, sound films in Korea faced much harsher censorship from the Japanese government-General than did the silent films before them. Also, the loss of the
857:; 1927). He formed Na Un-gyu Productions with Bak Seong-pil for the purpose of producing films by Koreans for Koreans. Though this company was short-lived, it produced important films like 1114:(코리아) were produced. In May 1955, tax exemption measures were implemented for Korean films, which later served as a major occasion for Korean films to enjoy the heyday. Lee Kyu-hwan's 1186:
attracted as many as 470,000 viewers alone at Kuk-do theater in Seoul and marked sixth place in the box office among all films released in the 70s. In 1975, director Kim Ho-seon's
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making machine and increase of movie goers greatly encouraged filmmakers. New genres such as teen movies and literary films emerged from the early to the mid-1960s. Kim Ki-young's
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operated as "a narrator that introduces the characters and the setting, and explains the physical actions and psychological dilemmas during silent film screenings." The
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Brian Yecies, The Korean “Cinema of Assimilation” and the Construction of Cultural Hegemony in the Final Years of Japanese Rule 日本統治下最晩年の韓国における「同化のシネマ」と文化的ヘゲモニーの構築
1098:(최후의 유혹). Returning to the capital in 1954, the filmmakers made the film persistently despite the new challenge of flooding foreign films. In 1954, Kim Seong-min's 3014: 3009: 3004: 2999: 2994: 2989: 2984: 2979: 2974: 2969: 2964: 2959: 2954: 2949: 2944: 2939: 2934: 2929: 2924: 975:
The number of films produced increased during the latter part of the decade. Na Woon-gyu began making a larger number of films again with significant works like
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During the Korean War in 1950, the filmmakers were once again in a time of hardship, but in 1952 a number of films were produced, including Jeon Chang-geun's
1428: 1194:(바보들의 행진) directed by Ha Gil-jong was highly acclaimed for its sensuous portrayal of the romance and wandering of youth with college students in 1975. 2891: 1447: 1541: 1763: 3700: 2116: 515:. As with all aspects of Korean life during the past century, the film industry has often been at the mercy of political events, from the late 2375: 1931: 2916: 1218: 1025:(君と僕). The film was directed by a Korean Hae Yeong who had worked extensively in the Japanese film industry using the name "Hinatsu Eitaro". 455: 2855: 1256: 486: 991:
distribute a mixture of films that promoted Japanese culture and customs as well as the benefits of modernization under the Japanese.
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In the 1970s, however, the Korean film industry again faced a recession and began to look for breakthroughs with Lee Jang-ho's
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Roald Maliangkay, “ Dirt, Noise, and Naughtiness: Cinema and the Working Class During Korea’s Silent Film Era,”
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South Korean Golden Age Melodrama: Gender, Genre, And National Cinema (Contemporary Approaches to Film and Television)
972:. The sound technique was reportedly poor, but Korean audiences appreciated hearing their own language in the cinema. 2906: 2816: 2718: 2627: 1997: 1016:(望楼の決死隊, 1943), for instance, was one of several propaganda features that promoted the Japanese occupation notion of 1003:(1927) into Korea. While Japanese colonial censors failed to find anything possibly inflammatory about the film, the 66: 4578: 2820: 2601: 674: 48: 2881: 1415: 2824: 2632: 2591: 2581: 2554: 2246: 2156: 1429:
Korean K-dramas and Hallyu films are #Alive and well, but Bollywood hits rock Bellbottom amid coronavirus slump
479: 1841: 2596: 2585: 2545: 2514: 1271: 610:, which opened in Seoul in November 1907, is widely considered the first theater. However, a 2021 article in 460: 4362: 4279: 4249: 4203: 2850: 2606: 1147: 173: 4598: 4322: 2790: 2692: 2571: 1454: 1869: 1397: 4758: 4367: 4284: 4208: 3460: 2786: 2688: 1545: 1286: 1281: 376: 261: 1916:
Areum Jeong, “How the Byeonsa Stole the Show: The Performance of the Korean Silent Film Narrators,”
1767: 4743: 4522: 4435: 4009: 2576: 1346: 1296: 1129: 668: 472: 246: 241: 39: 2127: 4815: 3435: 2740: 2507: 2493: 2379: 1939: 1629:"Century of Korean film: 100 years after first local movie, industry makes history on global stage" 4615: 331: 217: 212: 2489: 1790: 4692: 4162: 4062: 4034: 3976: 3736: 3629: 2763: 2665: 1655: 1597: 944: 654: 1764:"The Establishment of a National Cinema Under Colonialism: The History of Early Korean Cinema" 4753: 4710: 4603: 4548: 4527: 4510: 4425: 4042: 3857: 3842: 3792: 3787: 3583: 3453: 2771: 2673: 1316: 1229: 1207: 732:("Plighted Love Under the Moon"), released in April, 1923, as the first Korean feature film. 450: 445: 200: 195: 4568: 4517: 4450: 4430: 4090: 4067: 4057: 4052: 4047: 3852: 3822: 3634: 3568: 1633: 956:. Increasing governmental censorship meant that commentators have called this the last pre- 435: 271: 266: 8: 4700: 4678: 4623: 4347: 4152: 4077: 4014: 3994: 3966: 3922: 3772: 3573: 2121: 1817: 1568: 1374: 1306: 1261: 957: 869: 769: 357: 163: 2435:(2005), ed. by Chi-Yun Shin and Julian Stringer. Edinburgh: Edinburgh University Press. 606:
There are several competing claims for which is the first movie theater in the country.
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Shim died at the age of 35 while directing his second film, based on his own novel,
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got the chance to write, direct and star in his own film. The release of Na's film,
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Korea's first film studio, Dongdaemun Motion Picture Studio, was opened in 1903.
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Korean Film Council's YouTube Channel with old Korean films subtitled in English
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Korea's Occupied Cinemas, 1893–1948: The Untold History of the Film Industry
4793: 3932: 3877: 3862: 3476: 1846: 1331: 1301: 983: 923: 919: 717: 580:, or any similar article, and considers the 1897 introduction date a myth. 251: 185: 4779: 4733: 3942: 1874: 1737: 1321: 1248: 1167:(독 짓는 늙은이) in 1969 improved the quality of Korean films. Jung So-young's 1133:
was released in 1960. Shin Seong-il earned stardom through films such as
953: 764: 512: 508: 344: 83: 2019: 1336: 1190:(영자의 전성시대) was also a huge box office hit, attracting 360,000 viewers. 1118:(춘향전) was released in 1955 and caused the renaissance of Korean films. 859: 801: 759: 713: 709: 659: 520: 168: 1870:"Newly discovered films shed light on Korean life under Japanese rule" 3959: 2876: 607: 569: 560: 362: 536: 2242:
The Attractive Empire: Transnational Film Culture in Imperial Japan
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The Attractive Empire: Transnational Film Culture in Imperial Japan
1598:"Centennial of Korean cinema - From humble beginnings to mega hits" 1067:(새로운 맹세) were released. The following year, in 1948, Choi In-kyu's 895: 800:
provided an economical and entertaining alternative to translating
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Korean Film : History, Resistance, and Democratic Imagination
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Korean Film : History, Resistance, and Democratic Imagination
565: 1481:"(49) Motion picture first came to Korea at turn of 20th century" 1156: 849: 839: 777: 721: 440: 424: 412: 393: 368: 309: 234: 125: 906:). Though the reviews for this film were as strong as those for 3445: 2642: 1341: 1266: 786: 337: 304: 229: 2458:
Wade, James (1983). "The Cinema in Korea: A Robust Invalid".
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Wade, James (1983). "The Cinema in Korea: A Robust Invalid".
751: 573: 276: 109: 2376:"Classifying Performances: The Art of Korean Film Narrators" 1932:"Classifying Performances: The Art of Korean Film Narrators" 1398:"U.S. Films Troubled by New Sabotage in South Korea Theater" 44:
Needs more references, formatting and grammar improvements.
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version of Chunhyang brought the number of films based on
2095:. Westport, Connecticut: Praeger Publishers. p. 11. 1685:"S. Korean movie industry to celebrate centennial in Oct" 2413: 2090: 2070:. Motion Picture Promotion Corporation. pp. 57–59. 952:) (1932), directed by Lee Gyu-hwan (1904–1981), starred 773:(1926) is the start of the era of silent film in Korea. 2394: 2305:. Ann Arbor, Michigan: University of Michigan Press. 1171:(미워도 다시 한번) earned a huge success in the box office. 960:
film to present a significant nationalistic message.
1965:. Motion Picture Promotion Corporation. p. 53. 1517:
Im Kwon-Taek: The Making of a Korean National Cinema
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Eclipsed Cinema: The Film Culture of Colonial Korea
1542:"Recovering the past: rare films screened in Korea" 1514: 968:Korea's first sound film was Lee Myeong-woo's 1935 929: 728:to 14. Other sources, however, name Yun Baek-nam's 1715:. Seoul: Si-sa-yong-o-sa Publishers. p. 176. 1656:"Korean cinema celebrates 100th year anniversary" 837:with popular and critically respected films like 4807: 942:Perhaps the most important film of this era was 507:") encompasses the motion picture industries of 1145:(흑맥) around this time. In 1961, Shin Sang-ok's 1033: 780:", on which its title was based, Na Woon-gyu's 688:Panoramic View of the Whole City of Gyeongseong 2414:Min, Eungjun; Joo Jinsook; Kwak HanJu (2003). 2091:Min, Eungjun; Joo Jinsook; Kwak HanJu (2003). 1515:James, David E.; Kyung Hyun Kim, eds. (2002). 1223: 1201: 963: 3461: 2515: 2418:. Westport, Connecticut: Praeger Publishers. 2192:Mika Ko, Japanese Cinema and Otherness, p.138 1788: 1519:. Wayne State University Press. p. 267. 1219:List of highest-grossing films in South Korea 480: 2321:. Edinburgh: University of Edinburgh Press. 1441: 1439: 987:(1937), before his premature death in 1937. 699: 627: 621: 549: 531: 2395:McHugh, Kathleen; Albermann, Nancy (2005). 1478: 1395: 894:Another important director of this period, 558:According to the October 19, 1897 issue of 3468: 3454: 2522: 2508: 2373: 2117:"The story of Chun-hyang (Chunhyangjeon )" 1929: 1416:The Rise of the South Korean Film Industry 1257:Abduction of Shin Sang-ok and Choi Eun-hee 918:). The novel was later filmed by director 752:The Golden Era of Silent Films (1926–1930) 487: 473: 1436: 1059:(똘똘이의 모험). Then in 1947, Yun Bong-chun's 67:Learn how and when to remove this message 2340:. Motion Picture Promotion Corporation. 2266:24 Frames: The Cinema of Japan and Korea 935:film-industry in Shanghai at this time. 535: 2378:. Image & Narrative. Archived from 2238: 2188: 2186: 2148: 2142: 1510: 1508: 822:were better-paid than the film actors. 4808: 2263: 1985: 1622: 1620: 1448:"Korean Film History and 'Chihwaseon'" 1389: 3449: 2762: 2664: 2503: 2462:. Seoul: Si-sa-yong-o-sa Publishers. 2354: 1766:. LA Trobe University. Archived from 1682: 1544:. LA Trobe University. Archived from 1539: 1453:. Korean Film Council. Archived from 1371:"Future Korean Filmmakers Visit UCLA" 1121: 2457: 2183: 1842:"독일인 신부가 수집한 겸재화첩, 50억 거절하고 한국 오기까지" 1710: 1505: 1159:, 오발탄) were produced. Lee Man-hee's 620:, which first opened as Hyŏmnyulsa ( 17: 2529: 2374:Maliangkay, Roald H. (March 2005). 2335: 2316: 2282: 2065: 1960: 1930:Maliangkay, Roald H. (March 2005). 1648: 1626: 1617: 1595: 13: 2460:Korean Dance, Theater & Cinema 1805: 1735: 1713:Korean Dance, Theater & Cinema 1676: 1589: 1566: 1178:(별들의 고향) in 1974 and Kim Ho-sun's 804:. In an interesting aspect of the 14: 4827: 2478: 1896:Books Map Out Korean Film History 1839: 1627:Lee, Jae-lim (20 February 2020). 1540:Berry, Chris (18 December 1998). 1414:Roper, Willem (11 February 2020) 1277:List of Korean films of 1919–1948 4787: 4773: 3475: 3431: 3430: 2800: 2765: 2702: 2667: 2399:. Wayne State University Press. 2357:Korean Cinema: The New Hong Kong 1738:"A Short History of Korean Film" 1596:Lee, Gyu-lee (13 October 2019). 1569:""한국 최초의 영화관 '애관극장' 사라지면 안되잖아요"" 1567:오, 승훈; 김, 경애 (2 November 2021). 1479:Robert Neff (12 December 2010). 1241: 1151:(사랑방 손님과 어머니) and Yu Hyun-mok's 1014:Suicide Troops of the Watchtower 930:The later silent era (1930–1935) 82: 22: 2285:Korean Dance Theater and Cinema 2221: 2208: 2195: 2174: 2109: 2084: 2059: 2046: 2028: 2013: 1979: 1954: 1923: 1910: 1901: 1889: 1862: 1833: 1782: 1761: 1755: 1729: 1704: 1445: 1163:(만추) in 1966 and Choi Ha-won's 1055:(해방된 내 고향), and Lee Kyu-hwan's 746:In the Land of the Morning Calm 583:American traveler and lecturer 2490:Korean Film Archive collection 1560: 1533: 1472: 1421: 1408: 1363: 700: 628: 622: 616:claims that the Incheon-based 550: 1: 2546:List of Korean-language films 1427:Tai, Crystal (5 August 2020) 1352: 1272:List of Korean-language films 1212: 461:100 Cultural Symbols of Korea 2448:"On Korean Documentary Film" 2338:The History of Korean Cinema 2268:. London: Wallflower Press. 2068:The History of Korean Cinema 1963:The History of Korean Cinema 1683:Boram, Kim (17 April 2019). 1396:Sam Jameson (19 June 1989). 1184:Heavenly homecoming of Stars 1176:Heavenly Homecoming of Stars 1148:The Houseguest and My Mother 1094:(악야), and Jeong Chang-hwa's 1063:(유관순) and Shin Kyung-kyun's 1051:(윤봉길 의사), Jeon Chang-geun's 1034:After Liberation (1945-1954) 7: 2303:Rediscovering Korean Cinema 2301:Lee, Sangjon (ed.) (2019). 2247:University of Hawai'i Press 2157:University of Hawai'i Press 1792:In the Land of Morning Calm 1234: 1224:Divided Korea ― North Korea 1202:Divided Korea ― South Korea 1110:(출격명령), and Shin Sang-ok's 1047:(안중근 사기), Yoon Bong-chun's 964:Early sound era (1935–1945) 735:In 1925, the German priest 42:. The specific problem is: 10: 4832: 2359:. Black Dot Publications. 2035:영화(MOVIE-Motionpicture)이야기 1287:List of South Korean films 1282:List of North Korean films 1227: 1216: 1205: 1102:(북위 41도), Yun Bong-chun's 1075:(갈매기), and Han Hyung-mo's 950:Ferryboat with no Ferryman 898:, directed only one film, 4767: 4724: 4691: 4614: 4547: 4540: 4483: 4388: 4305: 4232: 4223: 4191: 4076: 4033: 3975: 3813: 3758: 3749: 3719: 3673: 3617: 3541: 3505: 3496: 3483: 3427: 3023: 2915: 2869: 2809: 2798: 2782: 2778: 2758: 2727: 2711: 2700: 2684: 2680: 2660: 2615: 2564: 2541: 2537: 2494:Google Arts & Culture 2239:Baskett, Michael (2008). 2149:Baskett, Michael (2008). 1840:차, 미애 (30 January 2021). 1347:South Korean Queer Cinema 1297:Korean Blockbuster Movies 1106:(고향의 노래), Hong Sung-ki's 1100:41 degrees north latitude 1071:(죄없는 죄인), Lee Kyu-hwan's 742:Im Lande der Morgenstille 532:Early period (until 1926) 3691:Central African Republic 2741:On the Art of the Cinema 1432:South China Morning Post 1357: 1079:(성벽을 뚫고) were produced. 1045:Records of Ahn Jung-geun 2355:Leong, Anthony (2003). 2317:Kim, Dong Hoon (2017). 2287:. Si Sa Yong O Sa Pub. 2264:Bowyer, Justin (2004). 1090:(애정산맥), Shin Sang-ok's 1086:(낙동강), Lee Man-heung's 1057:Adventures of Ddol-ddol 4401:Bosnia and Herzegovina 2551:List of pre–1948 films 2336:Lee, Young-il (1988). 2283:Han, Man-yong (1983). 2066:Lee, Young-il (1988). 1986:Yecies, Brian (2012). 1961:Lee, Young-il (1988). 1920:25 (2018), 25–54 (25). 1789:Norbert Weber (1925), 1088:Affectionate Mountains 945:Imjaeobtneun naleutbae 555: 3711:São Tomé and Príncipe 2772:Cinema of South Korea 2674:Cinema of North Korea 2452:YIDFF Documentary Box 2229:The Attractive Empire 2216:The Attractive Empire 2203:The Attractive Empire 2056:70 (2011), 1–31 (17). 1936:Image & Narrative 1317:Korean Movie Database 1230:Cinema of North Korea 1217:Further information: 1208:Cinema of South Korea 1165:The Old Pottery Maker 1053:My liberated Hometown 539: 451:Emblem of South Korea 446:Emblem of North Korea 4178:United Arab Emirates 2892:Production companies 2446:Pok Hwan-mo (1997). 2130:on 27 September 2007 1634:Korea JoongAng Daily 1135:The Barefooted Youth 1104:Song of the hometown 456:World Heritage Sites 49:improve this article 38:to meet Knowledge's 4727:& transnational 2122:Korean Film Archive 1818:Korean Film Archive 1377:on 24 December 2007 1307:Korean Film Archive 1262:Cinema of the world 1096:The Last Temptation 870:Beongeoli Sam-ryong 833:Na Un-gyu followed 776:Like the folksong " 156:Arts and literature 4579:Dominican Republic 2382:on 28 January 2008 2040:2014-09-08 at the 1942:on 28 January 2008 1690:Yonhap News Agency 1192:March of the Fools 1188:Yeong-ja’s Heydays 1169:Love Me Once Again 1122:Heyday (1955-1979) 884:Salangeul chajaseo 763:, the young actor 556: 4803: 4802: 4687: 4686: 4536: 4535: 4219: 4218: 3745: 3744: 3443: 3442: 3423: 3422: 3419: 3418: 2887:Animation studios 2754: 2753: 2750: 2749: 2656: 2655: 2628:Animation studios 2469:978-0-89209-017-4 2433:New Korean Cinema 2425:978-0-275-95811-4 2406:978-0-8143-3253-5 2366:978-1-55395-461-3 2347:978-89-88095-12-6 2294:978-0-89209-017-4 2275:978-1-904764-11-3 2256:978-0-8248-3223-0 2166:978-0-8248-3223-0 2102:978-0-275-95811-4 2077:978-89-88095-12-6 1972:978-89-88095-12-6 1813:"노르베르트 베버 필름 컬렉션" 1722:978-0-89209-017-4 1526:978-0-8143-2869-9 1460:on 2 October 2008 1402:Los Angeles Times 1327:East Asian cinema 1069:Innocent Prisoner 1049:Matyr Yunbong Gil 978:Kanggeonneo maeul 845:Person of Destiny 712:, color film and 683:Righteous Revenge 650:Douglas Fairbanks 590:Hwangseong sinmun 497: 496: 77: 76: 69: 40:quality standards 31:This article may 4823: 4794:World portal 4792: 4791: 4778: 4777: 4776: 4725:Intercontinental 4545: 4544: 4368:Northern Ireland 4230: 4229: 3756: 3755: 3503: 3502: 3470: 3463: 3456: 3447: 3446: 3434: 3433: 2846:Cinematographers 2804: 2780: 2779: 2770: 2769: 2768: 2760: 2759: 2706: 2682: 2681: 2672: 2671: 2670: 2662: 2661: 2602:Cinematographers 2539: 2538: 2524: 2517: 2510: 2501: 2500: 2473: 2429: 2410: 2391: 2389: 2387: 2370: 2351: 2332: 2298: 2279: 2260: 2232: 2225: 2219: 2212: 2206: 2199: 2193: 2190: 2181: 2178: 2172: 2170: 2146: 2140: 2139: 2137: 2135: 2126:. Archived from 2113: 2107: 2106: 2088: 2082: 2081: 2063: 2057: 2050: 2044: 2032: 2026: 2017: 2011: 2010: 2008: 2006: 1983: 1977: 1976: 1958: 1952: 1951: 1949: 1947: 1938:. Archived from 1927: 1921: 1914: 1908: 1907:Wade, p.176-177. 1905: 1899: 1893: 1887: 1886: 1884: 1882: 1866: 1860: 1859: 1857: 1855: 1837: 1831: 1830: 1828: 1826: 1809: 1803: 1802: 1801: 1799: 1786: 1780: 1779: 1777: 1775: 1759: 1753: 1752: 1750: 1748: 1733: 1727: 1726: 1708: 1702: 1701: 1699: 1697: 1680: 1674: 1673: 1671: 1669: 1652: 1646: 1645: 1643: 1641: 1624: 1615: 1614: 1612: 1610: 1593: 1587: 1586: 1584: 1582: 1564: 1558: 1557: 1555: 1553: 1537: 1531: 1530: 1512: 1503: 1502: 1500: 1498: 1489:. Archived from 1476: 1470: 1469: 1467: 1465: 1459: 1452: 1443: 1434: 1425: 1419: 1412: 1406: 1405: 1393: 1387: 1386: 1384: 1382: 1373:. 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