South Korean Women’s Cinephilia: Comparing the Cinematic Discourses of Parit’ŏ (1989–1991) and the South Korean Alternative Film Movement of the 1980s

Abstract: Parit’ŏ is recognized as a pioneer of the South Korean cine-feminist movement. Initially a social gathering, it evolved into seminars on film theory and feminist film criticism. Members criticized South Korean cinema for marginalizing women and reinforcing male-centric narratives, even in films aimed at female audiences. Parit’ŏ also revealed a dual identity, combining feminist concerns with engagement in the Minjung movement. This becomes clear when comparing its discourse with the alternative cinema movements of the 1980s: Open Cinema for the Minjung, Small Cinema, and Minjok Cinema. Although primarily engaged with cine-feminist theories, Parit’ŏ shared broader critiques against government repression and Chungmuro’s complacency. While Minjok Cinema’s radicalization led to the decline of intellectual cinephile discourse by the late 1980s, Parit’ŏ continued to develop artistic and experimental approaches. However, as South Korean cinema gained cultural legitimacy in the 1990s, cine-feminism struggled to find a place within the new intellectual cinephilia.