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Teen Audiences and Planned Films in the late 1980s and Early 1990s Korean Cinema: Focusing on Screen and Films Produced by Hwang Ki-seong Cinema

  • The Journal of Korean drama and theatre
  • 2026, (89), pp.225~262
  • DOI : 10.17938/tjkdat.2026..89.225
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : August 12, 2026
  • Accepted : September 8, 2026
  • Published : September 30, 2026

Jun Jeenee 1

1한경국립대학교

Accredited

ABSTRACT

This paper examines the discourse on "planned films" (gihoek yeonghwa) that resurfaced in the late 1980s Korea in relation to middle-class and adolescent discourses, reviewing contemporary film media articles and analyzing the teen films produced by Hwang Ki-seong Sadan, a company that led discussions of planned films during this period. Specifically, it explores how the sociocultural discourse surrounding the formation of a new consumer and audience base intersected with the discourse on "planned films" that emerged amid the broader trends of film market liberalization and the diversification of visual media. To this end, the paper examines how magazine Screen—which covered popular culture broadly enjoyed by audiences in their teens and twenties—engaged with planned films and this new group of film consumers, and identifies the points at which contemporary discussions of teens, the middle class, and the "Gangnam eight school districts" (8 hakgun) intersected with film planning. It then discusses how teen films, which took up not only adolescents' academic stress but also their consumption practices and romantic relationships as subject matter, both destabilized and reinforced middle-class ideology. In conclusion, the paper considers the questions that teen films—once popular during a specific period but subsequently vanished from the Korean film industry—pose to Korean cinema today. Through this analysis, the paper aims to shed light on 1980s audience-development theory, the media's construction of the teen figure as the primary target of planned films, and the position of teen films—which originated in market research into adolescent desire yet remained inextricable from the consumer capitalism at the industry's foundation and from middle-class conservatism.

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