[briandear]

A lot of that could have to do with film quotas that require cinemas to screen a certain percentage of ‘local’ films, regardless of demand and thus leaves only the most profit-generating American films available. Film quotas, while they sound good, result in essentially the subsidization of sub-par national films since they don’t have to worry about competing with the rest of the world; it essentially lowers the bar because these films don’t have to compete for screen time against so many, often better, foreign films.

Note, I am not saying American films are the best, I am just saying that film quotas make it easier for mediocre films to be exhibited because they aren’t competing against a full slate of imports. Look at the current French film industry as an example — pretty much crap except for the occasional standout. Although to be fair, the quota system in Korea actually resulted in a pretty vibrant cinema industry, but that seems to be an exception.

[JimmyAustin]

Do you have any insights in to why the Korean film industry is so vibrant? The local films in Australia are pretty sorry, and I'm curious about the local/political decisions that have gone into making it so good. Including K-Pop, South Korea seems to hit above its weight culturally.

[krageon]

Asian movies in general stand out (to people that don't live in Asia) because the motivations for all of the characters are very different. It can be very refreshing to not see the same retarded tropes that you see every day, which are generally really hard to relate to (for me). Why Korea in specific, I have no idea. Although it is important to note that there are also plenty of good Chinese movies.

[ABCLAW]

Korean industry is far more horizontally integrated than western industries. The Korean entertainment production industry is far more tied with their consumer product verticals.

They don't need a given series to be a smash investment if they control the actors/actresses/clothing choices/product placements, etc.