Spider Girl and the Gentleman: Global Film – Nollywood and Korean Cinema

psy-spidergirl

When we think of movies, for most of us, we think of Hollywood and their CGI, cliché movie twists and an infinite number of unnecessary reboots. But to quote John Oliver (2014), “Did you know that there are other countries that are not America?”

Yes. This Exists.

Nigerian cinema, or Nollywood, is one of the biggest movie industries in the world despite the fact that the movies are incredibly low budget and poor quality. One of these films that has attracted western attention is that of Spider Girl. With platforms like YouTube, Nigerian films have attracted more western attention than ever before. Despite these attributes, the audience for these movies is huge with Okome (2007, pp.6-7) referring to them as “street audiences” because they do not have cinemas and instead watch them on street corners. There is no doubt that Nollywood plays a huge role in bringing the Nigerian people together.

The Great Wave

When most people imagine Korean cinema, most people would imagine it being some bright, happy tale that doesn’t really make any sense due to the western success of artists like Psy. But Korean cinema is far from that. One of the biggest movie genres in Korea is horror films. These horror films are something to behold and put every western horror film to the sword. However, Korean cinema is become more westernized with Eun-Young (2009, pp.69-71) referring to it as the ‘hybridity’ of both cultures beginning as is clear with many Korean songs have the main line in English to appeal to the western market.

Summary

In the world, there are many different cultures with different cinemas. While industries like Nollywood are happy to differentiate themselves from the western market, there is a clear growth in the westernization of the Korean cinema. It is important that each country tries to maintain their individuality, even in small things like film.

Resources

  • Eun-Young, J (2009), ‘Transnational Korea: A Critical Assessment of the Korean Wave in Asia and the United States’, ‘Southeast Review of Asian Studies’, vol.31 , pp. 69-80
  • Okome, O (2007). ‘Nollywood: spectatorship, audience and the sites of consumption’ Postcolonial Text, 3.2, pp. 1-21.
  • Oliver, J (2014), ‘Tony Abbott, President of the USA of Australia: Last Week Tonight with John Oliver (HBO)’, online video, 2 June 2014, Last Week Tonight, Viewed 4 September 2016, <https://www.youtube.com/watch?v=c3IaKVmkXuk&ab_channel=LastWeekTonight&gt;
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