- Source: LGBTQ representation in South Korean film and television
Representation of lesbian, gay, bisexual, transgender, and queer (i.e., LGBTQ) characters and themes in South Korean film and television remains a relatively small part of the country's overall media landscape. Discussions about such portrayals have grown both in academia and public LGBTQ movements. The South Korean LGBTQ rights movement, which gained momentum in the 1990s, contributed to increased visibility of queer characters and relationships in film and television. While South Korea has historically been less accepting of LGBTQ identities, attitudes are gradually changing. A study conducted at Chonnam National University found a growing acceptance of homosexuality in South Korea.
The advent of social media, has facilitated the cultural consumption and creation of LGBTQ narratives, leading to increased representation in cinema and television. Activism and queer cinema have often intersected, as seen in initiatives like the Korean Queer Film Festival, which began in 1998. The festival underscores the close ties between activism and representation in South Korean media.
History of LGBTQ Media in South Korea
Efforts by organizations such as the Rainbow Foundation and Chingusai have helped shape public attitudes and foster greater representation of LGBTQ themes in South Korean media. Scholars Pil Ho Kim and C.Colin Singer categorize the progression of LGBTQ portrayals into three distinct periods: the Invisible Age (1945-1997), the Camouflage Age (1998-2004), and the Blockbuster Age (2005-early 2010s).
= Invisible Age (1945–1997)
=During this period, films addressing LGBTQ themes were largely invisible to the broader public. Although some films incorporated queer elements, they often remained overshadowed by other themes, such as violence or eroticism. Examples include:
The Pollen of Flowers (1972), which included homosexual undertones but focused on violence and power dynamics.
Ascetic: Women and Women (1976), considered one of the first Korean lesbian films, although it was primarily classified as erotic cinema.
Sabangji (1988), which also fell under the "ero" genre, masking its LGBTQ elements.
Broken Branches (1995), which gained more visibility but faced criticism for depicting queerness as a result of patriarchal oppression and Confucianism.
The films of this era were often categorized as underground or unofficial, limiting their reach and impact on mainstream audiences.
= Camouflage Age (1998–2004)
=The Camouflage Age saw increased LGBTQ representation, but queerness was often relegated to the background or justified by external factors to avoid controversy. Notable films include:
Memento Mori (1999): A horror film about a lesbian couple at an all-girls high school, where the horror and revenge elements overshadowed the queer narrative.
Bungee Jumping of Their Own (2001): A story of reincarnation where a pre-existing heterosexual romance justified the exploration of same-sex attraction.
Activists debated the merits of this "masking" strategy. Some argued it allowed for greater acceptance by depoliticizing LGBTQ themes, while others contended it reinforced heteronormativity by making queerness conditional or secondary.
This period also saw significant milestones, such as the public coming out of actor Hong Suk-chon in September 2000 and the appearance of trans woman Harisu in a widely publicized commercial in March 2001.
Some other films during this time period included Bongja (2000), Flower Island (2001), Desire (2002), Wanee and Junah (2002) and Road Movie (2002).
= Blockbuster Age (2005 – early 2010s)
=The Blockbuster Age marked a shift toward more explicit depictions of LGBTQ themes in mainstream media, coinciding with broader societal debates about LGBTQ rights. Such as the historic passing of an anti-discrimination bill that includes sexual orientation. Key representations include:
King and the Clown (2005): A commercially successful film that popularized the "flower boy" archetype while sparking discussions about gender and sexuality.
No Regret (2006): Regarded as South Korea’s first openly gay feature film by an openly gay director.
A Frozen Flower (2008): A historical erotic thriller film which explores complex relationships involving a gay king.
Life is Beautiful (2010): A television drama praised for its nuanced portrayal of a loving gay couple.
One of the most notable shifts during this era was the use of LGBTQ themes in more mainstream Korean dramas. LGBTQ themes began surfacing within dramas such as The First Shop of Coffee Prince (2007), Antique (2008) and Personal Taste (2008), but really surfaced fully in Life is Beautiful (2010).
Examples of South Korean queer cinema
Below is a list of some of the films and television series that have had LGBTQ themes: