South Korea, officially known as the Republic of Korea (ROK; Hanguel: 대한민국; Daehan Minguk; listen), is a country located in eastern Eurasia, constituting the southern part of the Korean Peninsula. The word "Korea" is derived from the Kingdom of Goryeo, also known as as "Koryŏ". It shares land borders with North Korea to the north, and oversea borders with Japan to the east and China to the west. Roughly half of the country's 50 million people reside in the metropolitan area surrounding its capital, the Seoul Capital Area, which is the second largest in the world with over 25 million residents.
Gyeongju is a city and prominent tourist destination in eastern South Korea. It lies in the far southeastern corner of North Gyeongsang Province, on the coast of the Donghae (동해, literally "East Sea"). Numerous low mountains, outliers of the Taebaek range, are scattered throughout the city. Gyeongju was the capital of the ancient kingdom of Silla, a fact to which it owes its present-day prominence. The Silla kingdom arose at the turn of the 1st millennium, and ruled most of the Korean Peninsula from the 7th to the 9th centuries. A vast number of sites from this period remain in the city today. After the kingdom fell, the city gradually declined in importance. Today Gyeongju is a typical medium-sized city, having shared in the economic, demographic, and social trends that have shaped modern South Korea. However, amidst these trends the city has retained a distinctive identity. In tourism, it is one of South Korea's most well-known destinations. In manufacturing, it profits from its proximity to major industrial centers such as Ulsan. Gyeongju is connected to nationwide rail and expressway networks, which facilitate both industrial and tourist traffic.
Kim Ki-young (October 1, 1922 – February 5, 1998) was a South Koreanfilm director, known for his intensely psychosexual and melodramatic horror films, often focusing on the psychology of their female characters. Kim was born in Seoul during the Japanese occupation, raised in Pyongyang and spent time in Japan, where he became interested in theater and cinema. In Korea after the end of World War II, he studied dentistry while becoming involved in the theater. During the Korean War, he made propaganda films for the United States Information Service. In 1955, he used discarded American equipment to produce his first two films. With the success of these two films Kim formed his own production company and produced popular melodramas for the rest of the decade. Kim Ki-young's first expression of his mature style was in his The Housemaid (1960), which featured a powerful femme fatale character. It is widely considered to be one of the best Korean films of all time. After a "Golden Age" during the 1960s, the 1970s were a low-point in the history of Korean cinema because of governmental censorship and a decrease in audience attendance. Nevertheless, working independently, Kim produced some of his most eccentric cinematic creations in this era. Films such as Insect Woman (1972) and Iodo (1977) were successful at the time and highly influential on the younger generations of South Korean filmmakers both at their time of release, and with their rediscovery years later. By the 1980s, Kim's popularity had gone into decline, and his output decreased in the second half of the decade. Neglected by the mainstream during much of the 1990s, Kim became a cult figure in South Korean film Internet forums in the early 1990s. Widespread international interest in his work was stimulated by a career retrospective at the 1997 Pusan International Film Festival. Kim's films, previously little-known or totally unknown outside South Korea, were shown and gained enthusiastic new audiences in Japan, the United States, Germany, France and elsewhere. He was preparing a come-back film when he and his wife were killed in a house fire in 1998. The Berlin International Film Festival gave Kim a posthumous retrospective in 1998, and the French Cinémathèque screened 18 of Kim's films, some newly rediscovered and restored, in 2006. Through the efforts of the Korean Film Council (KOFIC), previously lost films by Kim Ki-young continue to be rediscovered and restored. Many current prominent South Korean filmmakers, including directors Im Sang-soo, Kim Ki-duk, Bong Joon-ho and Park Chan-wook, claim Kim Ki-young as an influence on their careers.