Busan International Film Festival
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| Korean spelling | |
|---|---|
| Korean alphabet : | 부산 국제 영화제 |
| Hanja : | 釜山 國際 映 畵 祭 |
| Revised Romanization : | Busan Gukje Yeonghwaje |
| McCune-Reischauer : | Pusan Kukche Yŏnghwaje |
The Busan International Film Festival ( BIFF , formerly Pusan International Film Festival ) is an annually in October in Busan held forming Film Festival . They are the most important film festivals in South Korea and the largest in Asia . With around 200,000 visitors per year, over 300 films are shown.
The first festival took place in September 1996 and was the first international film festival in Korea. 173 films from 31 countries were shown. Since then, the festival has been held annually and the number of films increased continuously to 307 from 37 countries in 2005. The festival motto is: "The World's Most Energetic Film Festival."
The main prize of the international competition is the New Currents Award for the best new film by an Asian director. It is endowed with US $ 30,000. The festival is accredited by the film producers association FIAPF as an international film festival with a specialized competition, whereby this specialization relates to new Asian films.
The Korean Cinema Award, on the other hand, does not go to a Korean director, but to non-Korean people who have made a name for themselves in promoting Korean films abroad. Other awards are also presented in Busan, including one for the Asian Filmmaker of the Year and the FIPRESCI Prize .
The Busan International Film Festival also has a large film market for Asian films. The Asian Film Academy has been taking place as part of the festival since 2005 and is open to young filmmakers from all over Asia for three weeks.
In 2005, the Austrian architecture firm Coop Himmelb (l) au won the tender to build the Busan Cinema Center as a new festival center.
In 2013 the festival had 217,865 visitors. The New Currents competition section for Asian films was won by the South Korean film Pascha by Ahn Seon-kyoung and the Mongolian film Remote control . As part of the festival, the four-day Asian Film Market took place, in which 198 companies from 32 countries took part.
In 2014, Busan's mayor, Seo Byeong-su, wanted to prevent the documentary The Truth Shall Not Sink with Sewol from being shown because it was too critical of the government. The film highlights the sinking of the Sewol in April 2014 and the subsequent rescue measures. The film industry responded with protests and the management did not want to lose the identity and autonomy of the festival by giving in to political pressure. Ultimately, the documentary was shown as the opening film. However, the film festival received less financial support in the following years. In the broadcast of the Sewol documentary, there is also the origin of a black list by the Park Geun-hye government, which lists left-wing artists who should no longer receive support. The existence of the list became known in 2016 in the wake of the corruption scandal surrounding President Park Geun-hye.
Some filmmakers boycotted the festival due to government intervention. The years 2015 to 2017 were turbulent for the Busan International Film Festival and in 2017 the co-founder and program planner Kim Ji-seok suddenly passed away. In 2017, President Moon Jae-in visited the festival and emphasized its independence. In 2018 the situation normalized again and there were no more boycotts against the festival.
New Currents Award
The debut films or second films by Asian directors are shown in the New Currents category . The best films receive the New Currents Award. The award is endowed with $ 30,000.
| year | Movie | Director | Country of production |
|---|---|---|---|
| 1996 | Rain clouds over Wu Shan ( Wū shān yún yǔ ) | Zhang Ming | China |
| 1997 | Motel Cactus | Park Ki-yong | South Korea |
| 1998 | Unknown Pleasures ( Xiao Wu ) | Jia Zhangke | China |
| 1999 | Timeless Melody | Hiroshi Okuhara | Japan |
| 2000 | The day I became a woman ( Roozi ke zan shodam ) | Marziyeh Meshkini | Iran |
| 2001 | Flower Island ( Kkotseom ) | Song Il-gon | South Korea |
| 2002 | Jealousy Is My Middle Name ( Jiltuneun Na-ui Him ) | Park chan-ok | South Korea |
| The Rite ... A Passion ( Thilaadanam ) | KNT Sastry | India | |
| 2003 | The Missing | Lee Kang-sheng | Taiwan (China) |
| Tiny snowflakes | Alireza Amini | Iran | |
| 2004 | This Charming Girl ( Yeoja, Jeong-hye ) | Lee Yun-ki | South Korea |
| 2005 | Grain in Ear ( Máng zhòng ) | Zhang Lu | China |
| 2006 | Betelnut | Heng Yang | China |
| Love Conquers All | Tan Chui Mui | Malaysia | |
| 2007 | Life track | Guang Hao Jin | China / South Korea |
| Wonderful town | Aditya Assarat | Thailand | |
| A flower in your pocket | Liew Seng Tat | Malaysia | |
| 2008 | Land of Scarecrows | Raw Gyeong-tae | South Korea |
| Naked of Defenses | Masahide Ichii | Japan | |
| 2009 | kick off | Shawkat Amin Korki | Iraq / Japan |
| I'm in trouble | So Sang-min | South Korea | |
| 2010 | The Journals of Musan | Park boy-bum | South Korea |
| Bleak Night ( Pasukkun ) | Yoon Sung-hyun | South Korea | |
| 2011 | Mourning | Morteza Farshbaf | Iran |
| Niño | Loy Arcenas | Philippines | |
| 2012 | 36 | Nawapol thamron grattanarite | Thailand |
| Kayan | Maryam Najafi | Lebanon / Canada | |
| 2013 | Pasha | Ahn Sun-kyoung | South Korea |
| Remote control | Byamba Sakhya | Mongolia / Germany | |
| 2014 | End of winter | Kim Dae-hwan | South Korea |
| 2015 | Immortal | Seyed Hadi Mohaghegh | Iran |
| Walnut Tree | Yerlan Nurmukhambetov | Kazakhstan | |
| 2016 | The donor | Zang Qiwu | China |
| Knife in the Clear Water | Wang Xuebo | China | |
| 2017 | After my death | Kim Ui-seok | South Korea |
| Blockage | Mohsen Gharaei | Iran | |
| 2018 | Clean up | Kwon Man-ki | South Korea |
| Savage | Cui Siwei | China | |
| 2019 | Rome | Trần Thanh Huy | Vietnam |
| Haifa Street | Mohanad Hayal | Iraq / Qatar |
Web links
Individual evidence
- ↑ 13th Busan International Film Festival comes to an end . KBS World from October 12, 2013.
- ↑ The Asian film market ended successfully . KBS World of October 11, 2013.
- ^ A b c d Lee Hyo-won: Inside South Korea's Battle With a State-Sponsored Censorship Crisis. In: The Hollywood Reporter . February 9, 2017, accessed August 18, 2019 .
- ↑ a b c d Dal Yong Jin: Transnational Korean Cinema. Cultural Politics, Film Genres, and Digital Technologies . Rutgers University Press, New Brunswick 2020, ISBN 978-1-978807-88-4 , pp. 32 .
- ↑ Ju Oak Kim: Korea's blacklist scandal: governmentality, culture, and creativity . In: Culture, Theory and Critique . tape 59 , no. 2 , 2018, p. 81–93 , doi : 10.1080 / 14735784.2018.1446837 .
- ↑ Lee Hyo-won: How Asia's Busan Film Festival Bounced Back After Strife and Scandal. In: The Hollywood Reporter . October 2, 2018, accessed on August 18, 2019 .