Korean movies: from the survival of the old heritage to the modernized tradition

Abstract

Generally, the younger generations tend to rapidly embrace new subcultures and trends, weakening the role of traditions. Such is the case of Korea in the last hundred years, as Koreans have had to adapt to various new influences, and the old traditions were either maintained with great effort or adapted to new situations. The “Korean Wave”, which is not only the promotion of Korean pop music but also of Korean movies and television series, reflects this continuous process by shining a spotlight on both the old traditions and the new trends of Korean society. The survival of the Korean traditions is portrayed in the movie “Seopyeonje” (1993), directed by Im Kwon-taek, which follows two teenagers, who were taught pansori by their stepfather, as they strive to survive as pansori singers in a society where Western songs are more appealing. Conversely, the movie “Love, Lies” (2016), directed by Park Heung-Sik, showcases why the old way of singing will become less appreciated, as the new Korean pop music gains more and more popularity. While the former shows how traditions might be lost, the latter offers a popular solution to the problem of preserving traditions, using Homi Bhabha’s (2004) hybridity theory.