| Sageuk | |
 Yongin MBC Daejanggeum Park, where many sageuk television series are shot | |
| Korean name | |
|---|---|
| Hangul | 사극 |
| Hanja | 史劇 |
| RR | sageuk |
| MR | sagŭk |
Sageuk (Korean: 사극;Hanja: 史劇;listenⓘ) inKorean denoteshistorical dramas, including traditionaldrama plays,films ortelevision series.[1][2] In English language literaturesageuk usually refers to historical films and television series (of South Korea).[3][2][4] In North Korea, South Korean historical dramas are generally called 고전 영화 (Hanja: 古典 映畫,RR:Gojeon Yeonghwa) or classic film.
The first known historical film,The Story of Chun-hyang filmed in 1923, was directed by a Japanese filmmaker. The first Korean sound film was alsosageuk. The heyday of Korean cinema began in the 1950s and lasted until the 1980s, with manysageuk films released, like Lee Gyu-hwan'sChunhyang adaptation in 1955. In the 1960s, historicalmelodramas were significant, as well asmartial arts films. In the 1970s, due to the popularity of television, cinema started to decline, and in the 1980s it encountered a crisis, which prompted filmmakers to try to win viewers back witherotic pieces. From the 1990s,Im Kwon-taek's movies, as well asThe Legend of Gingko andThe Eternal Empire are significant works. From the 2000s,sageuk films started flourishing, between 2012 and 2015 Korean cinema produced fivesageuk that broke the 10 million viewership record. As of 2016 June,the highest grossing South Korean film is also a historical drama:The Admiral: Roaring Currents.
The first television series, asageuk, of South Korea aired on state channelKBS in 1962, titledGukto malli. In the 1970s, in contrast to the previous decade, historical TV series portrayed national heroes likeYi Sun-sin orSejong the Great. The characteristic series of the 1980s wasJoseonwangjo 500 nyeon ('500 Years of Joseon'). The 1990s were dominated by contemporary dramas with regard to popularity and viewership ratings, despite having produced a number of qualitysageuk. The 2000s saw the birth of the "fusionsageuk" genre, which changed the historical series genre in South Korea. Some of the significant works from this period areHur Jun,Damo,Dae Jang Geum andQueen Seondeok.
Popular themes ofsageuk include elements fromKorean folklore andmythology, famous or notorious princes,kings, palace intrigue, national heroes and famous women.
The first film which can be regarded as asageuk wasThe Story of Chun-hyang, directed by Japanese filmmaker Koshu Hayakawa (早川孤舟) in 1923.[3][5] The story ofChunhyang is a popular element ofKorean folklore, recurring in Korean cinema, as well, having produced more than a dozen adaptations both in films and television series. Some cinematic milestones are also related to it, for example, Lee Myeong-woo'sChunhyangcheon (춘향전) in 1935 was the first Korean sound film.[3][2][6] From 1940, the number of Korean films declined, due to theJapanese colonialist policies forbidding films other than propaganda movies. Many filmmakers fled the country, and those remaining had to join the pro-Japanese camp. After thesecond world war ended, filmmakers rather celebrated independence and did not make historical pieces.[7]
After theKorean war,romanticism was the ruling school of 1950s historical movies in South Korea, often focusing on female characters. The roots of this can be traced back to theatres: grandchanggeuks, or folk operas, had been popular, so much so, that they began to be adapted to film. Since these stories focused on human nature, fate, and feelings, actual historical backgrounds were irrelevant. These stories usually preferred the period of theThree Kingdoms of Korea, factual details of which were scarce, thus attention to historical factual accuracy could be avoided. In 1956,Wangja Hodonggwa Nangnang gongju (왕자호동과 낙랑공주) adapted the story ofPrince Hodong and the Princess of Nakrang, Korea's very ownRomeo and Juliet tale.[2][8]
The 1950s to the 1980s are considered the heyday ofChungmuro, or the KoreanHollywood, when more than 100 films were produced annually. The need for historical films was boosted by the success of such works as Lee Gyu-hwan'sChunhyang adaption (1955),Kim Ki-young'sYangsan Province or Jeon Chang-geun'sGojong hwangjewa uisa An Jung-geun (King Gojong and martyr An Jung-Geun; 1959).[9]
Sageuk successes of the 1960s were adaptations of works that had previously been successful in other art forms, for example as radio plays, theatrical plays,changgeuk operas or novels. Examples includeJang huibin (장희빈; 1961),Naesi (내시, 'Eunuch'; 1968) orWomen of Yi Dynasty (이조 여인잔혹사,Ijo yeoinjanhoksa; 1969). The atmosphere this time was more conservative than in the 1950s, partially due toPark Chung Hee's dictatorship. Conforming to the circumstances, historical melodramas were preferred, but there were exceptions likeJeong Chang-hwa's martial arts films, inspired by theShaw Brothers.[2] This is the period whenJoseon became the focus of attention, depicting the relationship between kings and officials, determining the nature of historical films for the next decades. Viewers were now more interested in actual historical events than in mystified, old legends. Previously, people were searching for familiar themes insageuk, due to modern inventions being relatively new to Korea at the time. By the 1960s, however, they got used to modernities, thus filmmakers turned to decadent themes or novel stories.[8][10][6]
The first historical television series in South Korea was aired in 1962 on state channelKBS, titledGukto malli (국토만리), directed by Kim Jae-hyeong (김재형), set in the era ofGoguryeo.[3][12]
As television sets started to be rolled out en masse, the number of television series also grew. Just like in cinema, however, the policies of the ruling regime affected them as well. Thus dramatic historical figures were replaced by national heroes like generalYi Sun-sin orSejong the Great.[2]Sageuk of the time mixed legends and reality, the major cause of which was the enormous demand for TV series. Historical factual accuracy would have required scriptwriters to research historical documents written inhanja characters, which, considering the demand and the daily episodes, would have been impossible. Also, legends were easier to be dramatized.[3]
As television dominated, cinema declined,[8] and out of all the historic films of the period only two could achieve success at the box office: Lee Gyu-ung'sSeongung Yi Sun-sin (성웅 이순신) and yet anotherChunhyangga adaptation, this time by Lee Seong-gu.[2] Critics applauded other works, likeGate of Woman (홍살문,Hongsalmun, 1972),An Executioner (망나니,Mangnani, 1974),Concentration of Attention (집념,Jibnyeom, 1976) orA War Diary (난중일기,Nanjungilgi, 1977).[13]
The characteristic classicsageuk TV series of the 1980s wasJoseonwangjo 500 nyeon (조선왕조500년, '500 Years of Joseon'), which ran for eight years, airing 11 separate TV series with over 800 episodes altogether, depicting the history ofJoseon. The series referenced official historical documents (albeit liberally to some extent) and often included debated events and themes. It was directed byLee Byung-hoon, who later also helmed the popularhallyu seriesDae Jang Geum.[3][2][14] The state channel KBS airedGaeguk (개국, 'Foundation of the Kingdom') which depictedKing Taejo's usurpation of theGoryeo throne in an overtly positive light, reminiscent ofChun Du-hwan's rise in politics.[2]
The diverse programming on television devoured viewers from attending cinemas, and the film industry had but one way out: show a genre that could not be accessed through television. This is why they turned to makingerotic films, a good portion of which were set in historical times. Movies likeEoudong (1985) orDoes the Cuckoo Cry at Night (뻐꾸기도 밤에 우는가,Bbakkugido bame unenga, 1985) were also popular at the box office. Although erotic movies were popular, thesageuk genre saw a decline in South Korean cinema generally.[3][2]
At the beginning of the 1990s, historical films were scarce, except forBae Chang-ho'sKkum (꿈, 'Dream'; 1990).The Eternal Empire (영원한 제국), which received outstanding critics, was released in 1995. The film is significant for its different take on the popular story ofCrown Prince Sado, focusing on the political aftermath of his death, rather than the pain of the prince himself. Although it did not do well at the box office, the film received eight awards at theGrand Bell Awards, including Best Film and Best Director.[2]Im Kwon-taek's period films are also noteworthy, as well asThe Legend of Gingko from 1996.[8]
The 1990s saw a number ofsageuk on television, likeHan Myeong-hui (한명회, 1994),Jang Nok-su (장녹수, 1995),Tears of the Dragon (용의 눈물, 1996–1998) orKing of the Wind (대왕의 길, 1998). However, viewership ratings could not match up to that of contemporaryKorean dramas, only a few could reach 30%, while for example the modern themedEyes of Dawn recorded 58.3%,[15][16]Sandglass broke 50.8%.[17][3]
At the beginning of the 2000s,sageuk were preferred by older generations. Young people chose to watch contemporary series, which they could better relate to.Sageuk were often complicated, archaic in language use, and mainly employed older actors — thus were less appealing to younger generations. A change in attitude is attributed to producer and directorLee Byung-hoon, who entrusted the script ofHur Jun to a young, up-and-coming scriptwriter, Choi Wan-gyu. Instead of dry historical facts and distant wars, the series focused on emotions and relationships, revolving around the legendaryJoseon royal physician. A new genre, "fusionsageuk" was born, changing the structure and format of Korean historical television series. In 2003, actressHa Ji-won starred inDamo, the firstHDTV format Korean TV series. The drama merged characteristics of trendy modern dramas withHong Kong stylewire-fu action scenes, narrating a fictional story set in a real historical time.[3]
_02.jpg)
.jpg)
As fusionsageuk conquered televisions, they started to infiltrate cinema, as well. This can be attributed partially to the success of television dramas and partially to the international success of such Chinese historical epics likeCrouching Tiger, Hidden Dragon,Hero or the AmericanGladiator, prompting the need to produce such works at home, as well.[8] In 2003,Untold Scandal with drama iconBae Yong-joon was released, but the real turning point in historical films came in 2005 withThe King and the Clown, breaking box office records selling more than 12 million tickets.[18][3] Period films are also successful in the 2010s in South Korea, between 2012 and 2015, five out of all the films surpassing 10 million viewers weresageuk, and the record keeper (as of 2016 June) is also a historical piece:The Admiral: Roaring Currents sold 17.61 million tickets. The most popular ones are also of the fusion type, mixing historical facts with fictional people or events. Such works include for example,The Face Reader orMasquerade. Apart from so-called palace dramas, spectacular action-filledsageuk likeWar of the Arrows,The Grand Heist orPirates are also successful in the 21st century. Film series have also appeared, like theDetective K-series, placing a crime investigation story intoJoseon settings. Erotic period films experience a renaissance in South Korean cinema, with pieces likeForbidden Quest,The Servant orEmpire of Lust.[19][8]
Sungkyunkwan Scandal (2010),Moon Embracing the Sun (2012) andLove in the Moonlight (2016) were allsageuk adapted from popular novels. They were initially targeted to a younger demographic but has since received mainstream and international success.[20] The productions have also put the spotlight to then emerging actorsSong Joong-ki,Yoo Ah-in,Kim Soo-hyun,Park Bo-gum andKim Yoo-jung.[21]
Large-scalesageuks have been rarely produced, but when they were launched, they often caught the attention of the public. Most of them have been fantasy-based, telling the audience a unique story of kings and queens who lived in the ancient era. The most well-known one so far has beenThe Legend (2007), which featured theHallyu starBae Yong-joon.[22] In 2018,Studio Dragon announced it is working onArthdal Chronicles, a new fantasysageuk castingSong Joong-ki andKim Ji-won.[23] The drama started its first shooting on 1 June and recorded 8% personal best rating.[24][clarification needed]
On March 5, 2017,Netflix announced that it had given the production a series order for a first season ofKingdom.[25][26] Alongside the series announcement, it was confirmed that Kim Seong-hun would direct the series and that Kim Eun-hee would be credited as the writer.[25] Production companies involved with the series were slated to consist ofAStory.[25][27]
Popular themes include the following:[2][19][3]
| By style |
|
|---|---|
| By theme |
|
| By movement or period |
|
| By demographic | |
| By format, technique, approach, or production |
|
