Kim Ki-young | |
|---|---|
 Kim Ki-young during a 1997 interview by the Korean Film Archive | |
| Born | October 10, 1919 |
| Died | February 5, 1998 (aged 78) Seoul, South Korea |
| Nationality | South Korean |
| Alma mater | Seoul National University |
| Occupation(s) | Film director, screenwriter, producer, editor |
| Years active | 1955–1990 |
| Awards | Best Director, Blue Dragon Film Awards (1971) Best Director, Baeksang Arts Awards (1973) |
| Korean name | |
| Hangul | 김기영 |
| Hanja | |
| Revised Romanization | Gim Giyeong |
| McCune–Reischauer | Kim Kiyŏng |
Kim Ki-young (Korean: 김기영; October 10, 1919[1] – February 5, 1998) was a South Korean film director, known for his intensely psychosexual and melodramatic horror films, often focusing on the psychology of their female characters. Kim was born in Seoul during the colonial period, raised in Pyongyang, where he became interested in theater and cinema. In Korea after the end of World War II, he studied dentistry while becoming involved in the theater. During the Korean War, he made propaganda films for the United States Information Service. In 1955, he used discarded movie equipments to produce his first two films. With the success of these two films Kim formed his own production company and produced popular melodramas for the rest of the decade.
Kim Ki-young's first expression of his mature style was in The Housemaid (1960), which featured a powerful femme fatale character. It is widely considered one of the best Korean films of all time.[2] After a "Golden Age" during the 1960s, the 1970s were a low-point in the history of Korean cinema because of government censorship and a decrease in audience attendance. Nevertheless, working independently, Kim produced some of his most eccentric cinematic creations in this era. Films such as Insect Woman (1972) and Iodo (1977) were successful at the time and highly influential on the younger generations of South Korean filmmakers both at their time of release, and with their rediscovery years later. By the 1980s, Kim's popularity had declined, and his output decreased in the second half of the decade. Neglected by the mainstream during much of the 1990s, Kim became a cult figure in South Korean film Internet forums in the early 1990s. Widespread international interest in his work was stimulated by a career retrospective at the 1997 Pusan International Film Festival. He was preparing a comeback film when he and his wife were killed in a house fire in 1998. The Berlin International Film Festival gave Kim a posthumous retrospective in 1998, and the French Cinémathèque screened 18 of Kim's films, some newly rediscovered and restored, in 2006. Through the efforts of the Korean Film Council (KOFIC), previously lost films by Kim Ki-young continue to be rediscovered and restored. Many current prominent South Korean filmmakers, including directors Im Sang-soo, Bong Joon-ho and Park Chan-wook, claim Kim Ki-young as an influence on their careers.
- ^ According to official documents, Kim was born in 1919. However, Kim insisted he was actually born in 1922. Lee, Youn-Yi. "Biography, Part 1". The House of Kim Ki-young. Archived from the original on May 5, 2004. Retrieved January 21, 2008.
- ^ Paquet, Darcy. "The Housemaid (1960)". koreanfilm.org. Retrieved January 25, 2008.