As the 19th edition of Jecheon International Music & Film Festival (JIMFF) has recently come to an end, what better time to reflect on some of the works of talented musicians who have contributed to Korean films? Music has always been a part of Korean cinema since its inception. When foreign silent films were shown in the first half of the twentieth century with live translations and comments from a byeonsa (the Korean for orator), they were frequently accompanied by music performances by a small band. Arirang (1926), one of the earliest Korean film successes, was one of the films screened in this manner, and it popularized the version of the namesake folk song that is widely known today. 

Even after movies began to "talk," soundtracks remained a mere afterthought, implemented hastily at the very end of post-production by reusing preexisting songs or music pieces. The first film composers appeared soon after the end of the Japanese colonization (1945), coinciding with the first boom in Korean film production, but original soundtracks remained the exception rather than the rule. Instead, "title songs", individual pop songs composed specifically for some titles as a marketing strategy, with only a tenuous link with the actual narrative, dominated the industry for the majority of the 1960s and 1970s. But things were about to change in the 1980s. This week, we compiled a list of the most notable works by notable music supervisors and composers who left a mark in the industry.

The Surrogate Womb (1986) by Im Kwon-taek

As cinema competed with television, original soundtracks became one of the methods used to distinguish films as an all-encompassing spectacle form worthy of the ticket price. Shin Byung-ha, a bass guitarist who began by performing jazz music for US soldiers stationed in Korea before forming his own rock band, was the first to make a name for himself in film music and is regarded as a true "teacher" who paved the way. The soundtrack for The Surrogate Womb is unmistakably his, seamlessly combining traditional Korean instruments and pansori singing with synthesizer-based ambient music to create an eerie atmosphere. He died in 2005, and when the Jecheon International Music & Film Festival began bestowing honorary awards the following year, Shin was naturally the first to receive one.

The Contact (1997) by Chang Yoon-hyun

The Contact, the film that set the standard for most melodramas that followed, is notable for the role music plays in the plot. One day, a radio host receives a record from an anonymous sender, whom he believes is his former lover, and decides to play it on his show. When one of the listeners requests on the internet that this song be played again, he contacts the woman, thinking she is his ex, and the two form a relationship. This was the first Korean drama film to use older Western pop songs to evoke nostalgia or simply propel the narrative by placing them front and center, which would become a common occurrence in Korean drama films. Ironically, Cho Young-wook, a music critic for a radio show, was given the job of choosing the songs that would make up the soundtrack. He carried out this task so with such flair and talent that the OST CD sold over a million copies, an unprecedented feat that demonstrated that soundtracks could be a lucrative auxiliary revenue source. It also single-handedly popularized The Velvet Underground by using their song Pale Blue Eyes as the one that brings the two leads together, and Sarah Vaughan's A Lover's Concerto remains one of the most well-known songs in Korea to this day.

Memento Mori (1999) by Kim Tae-yong and Min Kyu-dong

This horror film, the second in a series of six, is still the most well-regarded as it blended horror genre codes with a moving coming-of-age story about two high school girls discovering their attraction for each other, making it one of the first Korean films to depict a queer relationship. As a result, in addition to the usual horror fare underscoring, the soundtrack includes some emotional piano and violin pieces that reflect the protagonist's emotions. With the industry reorganization in the 1990s, which ushered in a new era of Korean films, more attention and budget were given to film music, and more talented musicians began to try their luck in this industry. Cho Sung-woo, who had previously worked primarily on melodramas such as Christmas in August, Addicted, and A Promise, proved to be the right man for the job. His Main Theme, which is used when the two characters spend time together on the rooftop of the school, is to this day one of the most memorable pieces of film music. Cho is also the former director of the JIMFF.

Old Boy (2003) by Park Chan-wook 

Old Boy, one of the most famous Korean films outside of its homeland, dazzles with its strong esthetic sense, which extends to the music as well. In this revenge story, a man tries to figure out who imprisoned him for 15 years. We left Cho Young-wook having scored a hit soundtrack with The Contact, but he has since worked with Kim Jee-woon on his debut The Quiet Family and met a young director, Park Chan-wook, for the making of Joint Security Area / JSA. Cho's method hasn't changed much, with him acting more like a music supervisor, except that he now works with composers who create the specific tracks he requires, Choi Seung-hyun, Sim Hyeon-jeong, and Lee Ji-su. This soundtrack covers a wide range of music, which combines classical and electronic genre to reflect the film's tragic and intricate narrative while also conveying a sense of a twisted tale. Park has almost always collaborated with Cho since then, including on his most recent title, Decision to Leave.

A Tale of Two Sisters (2003) by Kim Jee-woon

This psychological horror reactualization of an old folktale follows a teenage girl who returns home after a stay in a mental institution only to witness strange phenomena that appear to be connected with her stepmother. The film is often regarded as Korea's best horror film, and the soundtrack does not disappoint. Lee Byung-woo, who studied classical guitar in Vienna and the United States, used Western classical composition principles to great effect in creating this landmark OST. Led by piano and strings, it highlights the emotional family drama that lies at the heart of the ghostly appearances.

A Bittersweet Life (2005) by Kim Kee-woon 

Directed by Kim Jee-woon, known for his mastery of genre codes, the film features a wide range of music. Some jazzy tones and rhythms reminiscent of waltz or samba accentuate the noir elements of the film and the characters' despondent lives. The quieter pieces feature prominently a cello, the instrument played by the woman whose life is spared by the protagonist, who defies his boss's order and thus sets in motion a chain of events. The soundtrack is the work of two music directors, Jang Young-gyu and Dalpalan. Jang is a very versatile musician and vocalist (another bassist) who does his best to tailor his craft to the needs of each film. Dalpalan, on the other hand, comes from the heavy metal scene (band Sinawe) and has established himself as a pioneer in alternative punk (PiPi Band) and electronic music (as a solo artist). The work was acclaimed with the Award for Best Music at the Sitges Film Festival, and the two have since collaborated frequently.

Lady Vengeance (2005) by Park Chan-wook

This journey of vengeance by a woman 13 years after she was framed for the kidnapping and murder of a 5-year-old boy was the final installment in Park's vengeance trilogy and had a difficult task living up to expectations after the massive success of Old Boy. Cho Young-wook, him again, decided to contrast the thrilling preparation of the Machiavellian plan with music taken from or inspired by Baroque composers for this soundtrack, which was then reworked by his team of composers. The main theme of the film is based on an aria from Vivaldi's secular cantata Cessate, Omai Cessate titled Ah, ch'infelice sempre.

Architecture 101 (2012) by Lee Yong-ju

An architect is contacted by a former college classmate to design a new house for her, and as they work on the project together, he recalls their first meeting in the 1990s and their brief relationship. The film effectively conveys the essence of each era through their respective songs, alternating between present and flashbacks. Lee Ji-su, who worked as a soundtrack composer for Cho Young-wook on ​Old Boy, was the music supervisor this time. Like the rest of the film, he relied heavily on nostalgia by selecting pop songs from that era to convey the film's mood and emotions, particularly K-pop duos 015B and the group Marronier. However, one song in particular, Study of Love by duo Exhibition, struck a chord with the audience because it played an important role in the story. The film's success sparked a renewed interest in the era's fashion and pop culture, even until today.