****Moronic. Hypocritical. Pathetic. Inane. Insecure. Fu(ked up. Adolescent.
!Note from editor: please insert any of the seven words above where you see ****!
Being provocative is not necessarily the purpose of this heterogeneous web site being written from the various far-flung corners of the infinitely-sided Rational Minds galaxy in which we wished we lived, and, admittedly, the above words do suggest provocation, myopia, profane madness, reactionary taunting, unnecessary sobriety, and gunslung judgment.
However, this web site does exist for the purpose of calling out those who deserve to be exposed, it exists for the purpose of calling a sperm a sperm, for not shying away from confrontation, for acknowledging and bringing to light that which is absurd or unjust. And this particular entry on our humble point of light beaming throughout the cosmos actually will touch on the absurd, it’s just that I wanted to get your attention first.
Issue: in joint agreement with the United States government, the South Korean government has, effective 1 July 2006 (several days ago), implemented a change to the quota system specifying the number of days in a year that Korean movie theatres must show Korean-made movies.
****: Korean actors, movie directors, movie producers, other workers in the field, university “scholars”, and others who have been publicly protesting this agreement and bringing more global attention to the matter than it otherwise would have.
First begun forty years ago in an effort to protect the then-struggling domestic movie industry, the quota system decreeing the number of days that a local theatre had previously been required to show Korean movies was 146; that number has been slashed in half to 73 due to the new agreement.
Now, this writer is not here to foist his opinions upon the reader regarding the decision to lower the quota; of course, the South Korean government caved to the demands of the almighty U.S. and to a Hollywood that often oversteps its bounds; of course, these new measures were agreed upon in order to fill the purses of the respective governments, that the driving force behind this decision was money and how to increase profits because enough is never enough, even when it’s more than enough.
No, the purpose of this piece is to bring to light the absurdity of those protesting the new measure. Those in the Korean movie business are afraid jobs will be lost, that Korean movies will be subject to failure when competing with big-budget Hollywood-made movies, that the movie industry in South Korea will suffer dramatically, that Korean directors will be unable to continue making films, that there will be markedly less Korean entrants in worldwide film festivals, both big and small, such as the ones in Venice, Berlin, Sundance, and Cannes, among others.
Are Korean actors, cinematographers, directors, producers, sound editors, lighting technicians and others really so **** in their craft that they’re afraid to compete against movies from the international film community? They must be, one can surmise, because of the energy expended in recent weeks to bring the issue to the global fore.
How many times recently have **** Korean actors or directors been shoving their mugs in cameras at film festivals the world over in an effort to bring more recognition to their cause?
The reason this writer has issues with all the protesting is this: instead of wasting your energy protesting, whingeing, complaining, bellyaching, and spewing **** rhetoric, why don’t you spend like amount of efforts making good, quality movies? Have you not heard of something called “competition”?
You want to do something to force local Korean movie theatres to show domestic movies more than 73 days a year? How about making decent, thoughtful, mature, humourous, inventive, creative, cutting-edge, well-written, finely-acted movies instead of bringing ridicule and scorn to your genre by making delusional films about a Japanese invasion of Korea in the near future, or that always involve fighting and laughable machismo, or hallucinatory and self-deceiving films that completely miss the mark on the inter-Korean relationship between the two inhabitants of the Korean peninsula, or historical visions that celebrate and deify Korean history and/or culture as the best in the solar system and champion Korean homogeneity (a fallacy in and of itself on its own merit).
It’s patently **** that millionaire movie stars are being so **** about this issue. If you are really serious about “protecting” the Korean “movie culture”, if you’re really afraid of compromise and competition, then get out of the business or put your money where your arse is and get busy making quality films.
Even better is this: instead of expending your considerable energies lamenting the demise of your potentially substantial future paydays, or instead of devoting your time and money to sate your unflagging vanity by having your breasts enlarged, penis lengthened, bum lifted, eyelids doubled, nose westernised, teeth lacquered, tummy tucked, skin whitened, and cheeks sucked in, you devote these reserves of diligence on such worthy and eminently more meaningful following causes:
building schools for the poor in rural Nepal
donating the equivalent of what you paid for your imported luxury automobile to Pakistani earthquake victims or Sri Lankan tsunami victims
bravely venturing to any nation in Africa to see actual poverty, genuine displacement, true government injustice, and real anguish (and before you go, get educated that Africa is not a country, but a continent)
erecting bona-fide schools that emphasise the arts in smaller Korean towns and communities where students’ dabbling in the arts is often discouraged by parents and teachers
It’s sickening to listen to these cowardly national “icons” and “heroes” repine so interminably for their own sakes, yet turn the other way on conditions that are really worth protesting.
And to make it worse, the phenomenon that Koreans like to call the “Korean Wave”, an alleged rising demand in countries regionwide (Taiwan, Vietnam, Cambodia, among others) for all things Korean—such as movies, music, TV shows, etc.—, is infringing as much on the locally-made film market of these regional nations as the above jackasses are alleging that Hollywood is doing in Korea. Yet, where are these Korean movie insiders in Laos, Malaysia, and Indonesia protesting against larger-budget Korean films that obfuscate the local ones?
You guessed it—sitting on their arses in the million-dollar Seoul penthouses, their Brentwood lofts, their Chelsea townhouses, their Paris lofts, their Sydney bungalows, bitching that their lifestyles and livelihoods are going to be adversely affected.
Makes me think twice about ever watching another Korean-made film again.
**Please click the following link and then click on any of the links on the new page for more about this story to which I've just referred...