Abstract

This study historicizes Korean film culture in the 1990s through the framework of two theques—the cinematheque as an idealized vision of a film archive modeled after the West and the videotheque as its practical counterpart. The driving force behind the transformation of Korean film culture during this period was the emergence of a new generation of young cinephiles who, armed with video media, developed curatorial practices. As no proper public cinematheque had been established, private cinematheques emerged to fill the void. These institutions effectively assumed the role of a national film archive, but functionally operated in the form of videotheques. In response to this evolving cultural landscape, the Korean Film Archive began expanding its role as a public cinematheque. Throughout the 1990s, amidst dynamic shifts between aspirations and realities, the two theques did not exist as separate domains, nor did videotheques simply transition into cinematheques. Rather, they functioned in a complementary manner, fulfilling different yet interconnected roles. This study highlights the advantages of this coexistence— namely, the flexible synergy between the two forms and the dynamism driven by young cinephiles. In doing so, it also offers insights into how the Korean Film Archive can engage new generations in the rediscovery of Korean classic cinema.