By Paul Quinn, founder of the excellent Hangul Celluloid.
Ask almost anyone with even a vague knowledge of Korean cinema about continually prevalent K-film genres or themes and at some point in their response they'll likely mention more than one example from a near plethora of Korean revenge thrillers and cinematic tales of bloody retribution. While any discussion of genre predominance is of course multi-faceted, the fact that a country's cinema can almost not fail to be influenced by its nation's psyche - inherently reflecting trials and tribulations faced nationally - to my mind speaks volumes about the origin of Korean cinema's regular and ongoing use of revenge narratives: By its very definition, revenge comes as a direct response to wrongs suffered, oppression and/or repression and with Korea historically having had to endure not only decades of occupation by Japan - during which time repeated efforts were made by the Japanese to completely eradicate Korea as a nationality, including the banning of Korean language films from 1942 until 1945, when Korean independence was finally secured - but also subsequent years of stringent cinematic constraints and censorship instigated by the Korean government itself, the revenge genre has since provided opportunities for filmmakers to produce searing entertainment at the same time as, perhaps subconsciously, allowing a kind of audience catharsis by way of indulgence in fictional tales of vengeance and retribution where no national revenge could or would ever be sought in reality.
