From Sundance to Netflix: South Korean Cinema in the US Film Market, 1996–2024

In 2001, Korean cinema's market share in Korea exceeded that of Hollywood blockbusters, and the market dominance of domestic films surged to 60.9 percent in 2006. The argument suggests that the status of Korean cinema in the US film market has undergone significant changes in recent decades. [....

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Bibliographic Details
Published in:Journal of film and video 2025-04, Vol.77 (1), p.18-33
Main Author: Lee, Sangjoon
Format: Article
Language:English
Subjects:
Audiences
Awards & honors
Bong Joon-ho
Colleges & universities
Computer & video games
Critics
Culture
Film studios
Motion picture directors & producers
Motion picture festivals
Motion picture industry
Motion pictures
Streaming media
Streaming services
Success
Thrillers
Transnationalism
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Summary:In 2001, Korean cinema's market share in Korea exceeded that of Hollywood blockbusters, and the market dominance of domestic films surged to 60.9 percent in 2006. The argument suggests that the status of Korean cinema in the US film market has undergone significant changes in recent decades. [...]this article considers two early attempts to introduce South Korean cinema in the United States, Chunhyang (Im Kwon-taek, 2000) and Nowhere to Hide (Lee Myung-se, 1999), as well as early New York– and Los Angeles–based art film distributors’ efforts to diversify their Asian repertoires. The festival “culminated with Im's visit to Los Angeles and to the university, where he was presented with a lifetime achievement award by Arthur Hiller who was at the time president of the Academy of Motion Pictures” (James 9).
ISSN:0742-4671
1934-6018
DOI:10.5406/19346018.77.1.03