Hawaii, Cannes, and Los Angeles : projecting South Korean cinema to the world

In summer 2015, Star Wars: The Force Awakens dominated the box office in virtually every major film market on the planet. There were, however, two notable exceptions. Patrick Brezeski (The Hollywood Reporter) points out two markets where the force was not strong enough to hold local audiences – Viet...

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Main Author: Lee, Sangjoon
Other Authors: Wee Kim Wee School of Communication and Information
Format: Article
Language:English
Published: 2018
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Online Access:https://hdl.handle.net/10356/89236
http://hdl.handle.net/10220/46209
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Institution: Nanyang Technological University
Language: English
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spelling sg-ntu-dr.10356-892362020-08-11T08:31:15Z Hawaii, Cannes, and Los Angeles : projecting South Korean cinema to the world Lee, Sangjoon Wee Kim Wee School of Communication and Information Social sciences::Communication South Korean Films Cinema In summer 2015, Star Wars: The Force Awakens dominated the box office in virtually every major film market on the planet. There were, however, two notable exceptions. Patrick Brezeski (The Hollywood Reporter) points out two markets where the force was not strong enough to hold local audiences – Vietnam and South Korea. At the South Korea box office, CJ Entertainment’s mountaineering adventure drama The Himalayas (Himallaya, 2015) outperformed The Force Awakens. Vietnam’s Star Wars-beating movie was, interestingly enough, Sweet 20 (Em là bà nội của anh), a remake of 2014 South Korean hit Miss Granny (Susanghan Kŭnyŏ). It was indeed a second regional remake. The Chinese version came first, only ten months earlier, with the title of 20 Once Again (Chóng fǎn èrshí suì, 2015). Surprisingly, all three versions were also produced (or co-produced) by CJ Entertainment, South Korea’s media giant. Brezeski, thus, concluded his article with this line: “If there’s any force to rival The Force, it might be just be the so-called “Hallyu, or Korean pop culture wave, which continues to dictate trends across much of Asia. Published version 2018-10-03T07:08:25Z 2019-12-06T17:20:53Z 2018-10-03T07:08:25Z 2019-12-06T17:20:53Z 2018 Journal Article Lee, S. (2018). Hawaii, Cannes, and Los Angeles : projecting South Korean cinema to the world. International Journal of Korean History, 23(1), 123-140. doi:10.22372/ijkh.2018.23.1.123 1598-2041 https://hdl.handle.net/10356/89236 http://hdl.handle.net/10220/46209 10.22372/ijkh.2018.23.1.123 1 23 123 140 en International Journal of Korean History International Journal of Korean History IJKH is an open access article distributed under the terms of the Creative Commons Attribution Non-Commercial License (http://creativecommons.org/licenses/by-nc/4.0), which permits unrestricted use, distribution, reproduction and derivatives in any medium for non-commercial purposes, provided the original work is properly cited. 18 p. application/pdf
institution Nanyang Technological University
building NTU Library
country Singapore
collection DR-NTU
language English
topic Social sciences::Communication
South Korean Films
Cinema
spellingShingle Social sciences::Communication
South Korean Films
Cinema
Lee, Sangjoon
Hawaii, Cannes, and Los Angeles : projecting South Korean cinema to the world
description In summer 2015, Star Wars: The Force Awakens dominated the box office in virtually every major film market on the planet. There were, however, two notable exceptions. Patrick Brezeski (The Hollywood Reporter) points out two markets where the force was not strong enough to hold local audiences – Vietnam and South Korea. At the South Korea box office, CJ Entertainment’s mountaineering adventure drama The Himalayas (Himallaya, 2015) outperformed The Force Awakens. Vietnam’s Star Wars-beating movie was, interestingly enough, Sweet 20 (Em là bà nội của anh), a remake of 2014 South Korean hit Miss Granny (Susanghan Kŭnyŏ). It was indeed a second regional remake. The Chinese version came first, only ten months earlier, with the title of 20 Once Again (Chóng fǎn èrshí suì, 2015). Surprisingly, all three versions were also produced (or co-produced) by CJ Entertainment, South Korea’s media giant. Brezeski, thus, concluded his article with this line: “If there’s any force to rival The Force, it might be just be the so-called “Hallyu, or Korean pop culture wave, which continues to dictate trends across much of Asia.
author2 Wee Kim Wee School of Communication and Information
author_facet Wee Kim Wee School of Communication and Information
Lee, Sangjoon
format Article
author Lee, Sangjoon
author_sort Lee, Sangjoon
title Hawaii, Cannes, and Los Angeles : projecting South Korean cinema to the world
title_short Hawaii, Cannes, and Los Angeles : projecting South Korean cinema to the world
title_full Hawaii, Cannes, and Los Angeles : projecting South Korean cinema to the world
title_fullStr Hawaii, Cannes, and Los Angeles : projecting South Korean cinema to the world
title_full_unstemmed Hawaii, Cannes, and Los Angeles : projecting South Korean cinema to the world
title_sort hawaii, cannes, and los angeles : projecting south korean cinema to the world
publishDate 2018
url https://hdl.handle.net/10356/89236
http://hdl.handle.net/10220/46209
_version_ 1681058891297718272