{"id":6827,"date":"2026-04-17T14:44:27","date_gmt":"2026-04-17T12:44:27","guid":{"rendered":"https:\/\/u-paris.fr\/cerilac\/?p=6827"},"modified":"2026-04-17T14:44:27","modified_gmt":"2026-04-17T12:44:27","slug":"le-nouveau-cinema-sud-coreen","status":"publish","type":"post","link":"https:\/\/u-paris.fr\/cerilac\/le-nouveau-cinema-sud-coreen\/","title":{"rendered":"Le nouveau cin\u00e9ma sud-cor\u00e9en"},"content":{"rendered":"

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\u00a9 \u00e9d. Armand Colin<\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb3_4″][et_pb_text admin_label=\u00a0\u00bbPr\u00e9sentation\u00a0\u00bb module_id=\u00a0\u00bbcontenu\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ custom_margin=\u00a0\u00bb-15px|||-2px||\u00a0\u00bb z_index_tablet=\u00a0\u00bb500″ min_height=\u00a0\u00bb400px\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″]<\/p>\n

La Cor\u00e9e du\u00a0 Sud, de Snowpiercer<\/em> (2013) \u00e0 Parasite<\/em> (2019), occupe une place de choix dans l\u2019industrie mondiale du cin\u00e9ma contemporain. Cette ascension a d\u00e9but\u00e9 dans les ann\u00e9es\u00a0 1960, dans un pays ballott\u00e9 entre vis\u00e9es nationalistes et lib\u00e9ralisation d\u00e9brid\u00e9e.<\/p>\n

Pour appr\u00e9hender la singularit\u00e9 de ce nouveau cin\u00e9ma cor\u00e9en, Barnab\u00e9 Sauvage revient sur une histoire parfois paradoxale, en d\u00e9passant les tensions entre une identit\u00e9 marqu\u00e9e par les traumatismes nationaux \u2013\u00a0 de la colonisation japonaise \u00e0 la partition des deux Cor\u00e9es\u00a0 \u2013 et une logique internationale de soft\u00a0 power <\/em>inspir\u00e9e de Hollywood.<\/p>\n

Une r\u00e9flexion historique, \u00e9conomique et esth\u00e9tique qui fait la part belle aux analyses de films et permet au lecteur de se forger, point par point, un avis \u00e9clair\u00e9 sur la question.<\/p>\n

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