japanamerica

The Johnny's fiasco in Japan is but one reminder that tight corporate/big business control over creative industries can result in corruption and stymie creativity (leaving aside charges of sexual abuse). When I was tasked to write about contemporary Korean vs. Japanese films in my latest column for The Japan Times , one of the starkest differences I found was between the processes of movie and series production in the two countries. In Japan, delivering a product on or under-budget and on-schedule is prioritized, and creatives are treated by corporate owners like disposable gig-economy workers. In Korea, it's more about making works of art. When you see films like "Parasite" and series like "Squid Game" and "D.P.," you get the gist. Does South Korea now have the edge over Japan when it comes to film?         Thirty minutes into “Iron Mask,” the debut feature from Korean writer-director Kim Sung Hwan, its kendo-crazed antihero, Jae-woo (Jo