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Abstract

The purpose of this dissertation is to show how contemporary Korean films are transformed into “hybrid culture forms” through the practice of genre transformation. Despite recent popularity, Korean cinema is often perceived by the West as un-original and lacking in identity because of its mimicry of Western models. However, transnational, postcolonial and genre scholars propose alternative means as to which to explore these texts that connote that the mimicry that critiques and challenges the hegemonic West, as well as creating a new cultural hybrid form in which national cinemas, like South Korea can explore uniquely Korean narratives. Chapter 1 is split into three parts that considers my approach to Korean films and theoretical backgrounds, introducing the work of; Austin Fisher and Iain Smith and other academics to explore and outline notions of transnationalism and national cinemas. Homi Bhabha to discuss Cultural hybridity and the third space. Rick Altman, John Cawelti, Raphaëlle Moine and other scholars to explore genre, genres relation to culture and generic transformations. Chapter 2 is split into two sections. The first section provides an analysis of the three different westerns in The Good, The Bad, The Weird (Kim, 2018), using multiple different scholars. Section 2 provides an analysis of The Good, The Bad, The Weird by applying the aforementioned scholar's work to the film. This will reveal how the film functions as a “hybrid cultural form” and explore the effects of generic transformations, investigating how the dominant genre’s cultural messages are unsettled. This dissertation argues that genre transformation plays an important role in creating cultural hybrid text, and explores the development of cultural expression and diversity in an increasingly transnational world.

Course: Film Studies - BA (Hons) - C1256

Date Deposited: 2022-08-10

URI/permalink: https://library.port.ac.uk/dissert/dis13976.html