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Beyond International Film Festival, the Agnostics and Solidarity

  • Journal of Popular Narrative
  • 2022, 28(2), pp.393-417
  • DOI : 10.18856/jpn.2022.28.2.012
  • Publisher : The Association of Popular Narrative
  • Research Area : Interdisciplinary Studies > Interdisciplinary Research
  • Received : April 30, 2022
  • Accepted : June 15, 2022
  • Published : June 30, 2022

Chon Woohyung 1

1중앙대학교

Accredited

ABSTRACT

The international film festival, which seems to have landed in Korea by accident in the mid-1990s, is close to a historical product from below. Strictly speaking, it was a hybrid and indigenous cultural movement in the contact zone between the domestic democratization movement in the 1980s and the post-Cold War world situation in the 1990s. Beginning with the film movement in the 1980s, the establishment of an exclusive theater for art films in the 1990s, and the appearance of the international film festival in 1996, it was not a parallel, but a process of creating narrative tension. This article aims to go beyond the existing discussion, which has never been very curious about how the international film festival mediates the two as a combination of global and local. The changes in domestic international film festivals that have continued since the 2000s until recently, present a glocal social agenda and clearly show the evolutionary process of cultural politics that explores practical strategies for solidarity and coexistence beyond exclusion and discrimination.

Citation status

* References for papers published after 2022 are currently being built.

This paper was written with support from the National Research Foundation of Korea.