![]() Meanwhile an illegal, independent filmmaking movement gathered strength and produced works such as Oh! Country of Dreams in 1989. Only in the late eighties, following Seoul's hosting of the Olympics, did censorship lighten enough to let through mildly political content such as Park Kwang-su's Chilsu and Mansu. Political and social content was highly constrained, however, particularly following the army's massacre of protesting civilians at Kwangju in 1980. Of this group, Bae Chang-ho's dramas and comedies proved the most successful commercially, leading to his being nicknamed "the Steven Spielberg of Korea." Director Lee Jang-ho, who returned to filmmaking after serving a prison term in the 1970s for smoking marijuana, also produced many of the highlights of the decade.Ī change in government at the start of the decade brought about a newly tolerant attitude towards sexuality, leading to a wave of soft pornography and erotic features such as the Madame Aema series. Kang Su-yeon's Best Actress award at the 1987 Venice Film Festival for her role in Im Kwon-taek's Surrogate Mother was considered a highlight in this regard.ĭirectors to debut in the 1980s include Bae Chang-ho, Park Chul-soo, Park Kwang-su, Lee Myung-Se and Jang Sun-woo. At the same time, Korean films began to attract more and more attention from abroad, with the films of Im Kwon-taek in particular receiving multiple invitations and awards from various high-profile festivals. Although box-office levels remained stuck at low levels for most of the decade (and no hit would match the level of 1977's Winter Woman), a slight relaxation of censorship and a new generation of young directors helped to diversify and strengthen Korean cinema. The 1980s are often seen as a bit of a rebirth for Korean cinema. ![]() ![]() From left: "Mandala", "Eo-wu-dong", "Chilsu and Mansu", "Sabangji" ![]()
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