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Empress Chung
Korean theatrical release poster
Hangul
왕후 심청
Hanja
王后沈淸
RRWanghu simcheong
MRWanghu simch'ŏng
Directed byNelson Shin
Screenplay byKim Jung-ha
Shin Jang-hyun
Yoo Kwang-hee
Kyong Seung-won
Kwon Young-sup
Story byNelson Shin
Produced byNelson Shin
Yi Jin-eun
Kang Min-woo
Edited byNelson Shin
Music bySung Dong-hwan
Production
companies
Distributed byKOAA Films
Release date
  • August 12, 2005 (2005-08-12)
Running time
93 minutes
CountriesNorth Korea
South Korea
LanguageKorean
BudgetUS$6.5 million[1]
Box officeUS$140,000

Empress Chung (Korean: 왕후심청; RR: Wanghu simcheong) is a 2005 animated epic fantasy film, produced in North and South Korea and directed by Nelson Shin, on whose story the screenplay is also based. Empress Chung was the first film to release simultaneously in both North and South Korea. It saw critical acclaim and won awards at two film festivals, but was a commercial failure, earning US$140,000 against a US$6.5 million budget.

Premise

[edit]

Based on a Korean folk tale, the film follows a girl that sacrifices her life to a sea dragon in order to restore her blind father's eyesight. She is rewarded for her filial piety by being made an empress.[2]

Production

[edit]

Empress Chung was the personal project of Nelson Shin, a South Korean animator that founded AKOM. He spent seven years and US$6.5 million of his own money on the film. In order to save costs, he collaborated with the North Korean SEK Studio because North Korean animators are paid less than South Korean animators. The film made use of 500 animators, 400 of which were North Korean.[2] Shin visited Pyongyang eighteen times to supervise production.[3]

Shin incorporated aspects of his personal life into the film, such as turning his pets into characters. He also did historical research for the film; the film was initially planned to be set in the Goryeo era, but it was rewritten into the Joseon era to maintain historical accuracy. Several locations in the film are based on real Korean temples and palaces, including Gyeongbokgung.[4]

Release

[edit]

On August 12, 2005, Empress Chung became the first film to have been released simultaneously in both North and South Korea. It played in 6 theaters in North Korea and 51 theaters in South Korea. The film won a prize at the 2003 Annecy International Animation Film Festival and won the top prize at the 2004 Seoul International Cartoon and Animation Festival.[2] The film grossed US$140,000 on its opening weekend against a US$6.5 million budget.[1][2] Empress Chung had no home media release and was previously considered to be a lost film.[5]

On December 31, 2025, an archivist uploaded a restored version of the film with added English subtitles to YouTube and later to the Internet Archive. This version was restored from a low-quality DVD copy made for potential Japanese distributors.[6][better source needed]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Empress Chung

View on Grokipedia
from Grokipedia
Empress Chung (Korean: 왕후심청, Wanghu Simcheong) is a animated drama-fantasy film directed and produced by Korean-American , adapted from the traditional Korean folktale The Tale of Shim Cheong. The narrative centers on Shim Chung, the devoted daughter of a blinded , Shim Hak-ku, who sells herself for 300 sacks of rice to fund a Buddhist ritual aimed at restoring his sight, leading her to sacrifice herself to the sea dragon Indangsu, after which she miraculously reunites with her father and becomes empress. Produced over seven years at a cost exceeding $6.5 million, largely self-financed by Shin through his company KOAA Films, the project involved approximately 500 animators—100 from and the majority from —resulting in around 500,000 hand-drawn frames. It premiered on August 12, 2005, across 51 screens in and on August 15 across 6 screens in , marking the first to release simultaneously in both nations divided since 1945. While achieving modest success in the South with 72,702 admissions and grossing about $297,000, the film's collaborative production symbolized a rare cultural bridge amid political tensions, though its limited home media distribution has since rendered full copies scarce outside archival or screenings.

Background and Development

Folk Tale Basis

Empress Chung draws its narrative from the Korean folktale The Tale of Shim Cheong (심청전; Simcheongjeon), a story rooted in pansori, an epic vocal storytelling tradition that originated in southwestern Korea during the late 17th or early 18th century as an evolution of shamanic songs and narrative performances. The tale, transmitted orally through pansori singers (sorigun) accompanied by a drummer, exemplifies Confucian ideals of filial piety (hyo) and has been documented in written forms since the mid-Joseon Dynasty (1392–1910), with performances like Simcheongga emphasizing dramatic recitation, gesture, and fan work to convey moral lessons. In the core plot, Shim Cheong is born to the blind scholar Shim Hak-gyu after his wife vows to donate 300 seok (roughly 300 bushels or 18,000 liters) of to a for his eyesight, but she dies in , leaving father and daughter in . Cheong grows into a devoted who begs to support her father, but to fulfill the unkept vow—essential for his sight—a demands the rice offering. Unable to provide it, Cheong sells herself to seafaring merchants for exactly 300 seok, who then her to the by sealing her in a wooden chest and casting it into the stormy sea to appease turbulent waters. Miraculously surviving divine trials, including submersion and trials by sea deities, Cheong drifts ashore amid blooming lotus flowers, is rescued, and ascends to the royal court, where her earns her selection as consort to the king, eventually becoming empress. The story culminates in Cheong, as empress, hosting a lavish for blind beggars to honor her father's plight; Shim Hak-gyu attends unknowingly, and upon recognizing her voice, his sight is restored through supernatural intervention—often depicted as tears or —leading to and prosperity. This resolution underscores themes of yielding karmic reward, with possible shamanic origins as a rite addressing blindness, familial loss, and spiritual restoration through offering and rebirth motifs. The folktale's enduring popularity stems from its moral framework, influencing numerous adaptations, though the 2005 film amplifies adventure and visual spectacle while preserving the sacrificial arc and filial core.

Director's Vision and Pre-Production

, a Korean-American and founder of Production Co., selected the folktale Shim Cheong-jeon for into Empress Chung due to its dramatic narrative and embodiment of Korean traditions, aiming to create a feature-length animated that would introduce Korean culture to global audiences. , who had previously directed The Transformers: The Movie (), viewed the project as a personal labor of love, self-funding the $6 million production to ensure creative control and cultural authenticity. Initially targeting markets in Hollywood and , 's vision emphasized universal themes of and sacrifice while preserving the tale's moral core, where the protagonist Shim Cheong offers herself to restore her blind father's sight. Pre-production was handled primarily in by Shin's KOAA Films, where he developed the original story and , adapting the classic Joseon-era folktale into a 94-minute animated feature. A key element of Shin's approach was establishing a joint North-South Korean collaboration, outsourcing in-betweening and drawing to North Korea's —employing around 500 staff—not for cost reduction but to foster cultural exchange and reconciliation between the divided nations. This marked the first feature-length co-production between the two Koreas, with South Korean teams overseeing scripting, storyboarding, and post-production to align on stylistic and narrative consistency. Work-in-progress footage was showcased at the 2004 Annecy International Animation Festival, highlighting the film's traditional 2D cel techniques blended with dramatic storytelling.

Production

Joint North-South Collaboration

Empress Chung represented the inaugural feature-length film co-produced by animation studios from North and South Korea, spanning eight years of collaborative effort. Directed by via his U.S.-based KOAA Films, the project integrated South Korea's Production Company for , , and overall oversight with North Korea's SEK Animation Studio, which executed the bulk of the . SEK deployed approximately 500 staff members to produce sketches, drawings, and key animation sequences in , capitalizing on lower labor costs while adhering to directives from Seoul-based supervisors. Shin, leveraging his North Korean heritage, personally visited 18 times to monitor quality and ensure alignment with the folktale's narrative. This division of labor facilitated technical efficiency, with North Korean teams focusing on labor-intensive cel animation techniques refined over decades in their state-run industry. The partnership underscored rare inter-Korean cultural exchange amid political tensions, enabling simultaneous theatrical releases—51 screens in on August 12, 2005, and 6 screens in on August 15, 2005, coinciding with the 60th anniversary of Korean independence from Japanese rule. Despite the collaboration's success in production milestones, no distribution followed, rendering much of the film inaccessible outside initial screenings.

Animation Process and Technical Aspects

The animation of Empress Chung employed traditional hand-drawn 2D techniques, characteristic of cel animation prevalent in early 2000s feature films. This process required the creation of approximately 500,000 individual drawings to achieve fluid motion across the film's runtime, adhering to standard frame rates of around 24 frames per second for key sequences. Production involved a workforce of roughly 500 animators, divided between South and North Korean studios to leverage specialized labor pools. South Korean teams, numbering about 100, handled initial storyboarding, character design oversight, and select high-detail sequences under director Nelson Shin's supervision, while North Korea's contributed the bulk of the in-betweening and final line work with around 400 staff. This division allowed for efficient scaling of the labor-intensive hand-drawing phase, though coordination across borders necessitated physical shipment of cels and revisions via diplomatic channels. Technical execution emphasized meticulous ink-and-paint application on sheets, with backgrounds rendered in a style evoking traditional Korean to align with the folk tale's aesthetic. No significant use of digital compositing or CGI was reported, preserving the organic line quality typical of analog-era Korean animation exports. The resulting visuals prioritized expressive over complex effects, reflecting Shin's background in Western-influenced projects like Transformers.

Challenges and Political Influences

The production of Empress Chung faced significant logistical and diplomatic hurdles due to the collaboration between South Korean entities, such as , and North Korea's state-run , marking the first inter-Korean animated feature. Director , who self-funded the $6.5 million project over seven years without government backing from either side, initiated the partnership after encountering North Korean representatives abroad, requiring multiple personal visits to for oversight amid restricted cross-border communication and travel. Approximately 500 North Korean animators handled much of the work, necessitating training in 3D techniques by South Korean teams to bridge skill gaps, as North Korean studios traditionally emphasized 2D cel . Political influences shaped the project's scope and symbolism, with the film positioned as a gesture toward during a period of tentative inter-Korean engagement in the mid-2000s. The , adapted from the folktale Simcheongjeon, avoided overt ideological content to secure North Korean approval, reflecting SEK's state oversight and the need to align with Pyongyang's cultural policies that prioritize juche-inspired narratives. Shin's vision emphasized universal themes to appeal internationally, but the collaboration leveraged North Korea's low labor costs—animators earning fractions of South Korean wages—to contain expenses, underscoring economic pragmatism amid U.S. sanctions that complicated funding flows. These dynamics highlighted broader tensions: while the joint effort symbolized unity on the 60th anniversary of liberation from Japanese rule, with releases timed for in the and in the North, underlying divisions risked project delays from bureaucratic vetting and content revisions in . No major disruptions were reported, but the reliance on personal initiative over official channels exposed vulnerabilities to shifting diplomatic relations, as evidenced by later access restrictions on the film amid escalating North-South hostilities.

Plot

Detailed Summary

In the animated film Empress Chung, Shim Hakkyu, a impoverished blind scholar living in historical Korea, raises his Shimcheong single-handedly after his wife dies in . Shimcheong matures into a devoted filial , accompanying her to beg for and ensuring their survival despite their hardships. One day, Shim Hakkyu tumbles into a , prompting a passing to advise that donating 300 sacks of to a temple would restore his vision as . Unable to afford the , Shimcheong, guided by a dream of her late mother, travels to the harbor and offers herself to a band of merchants bound for foreign lands, who require an "orphan girl" sacrifice to the of the sea and agree to provide the exact quantity of in payment. Aboard the ship, a erupts, interpreted as the Dragon King's wrath, compelling the merchants to bind and cast Shimcheong into the turbulent depths as the offering. She descends to the but is rescued by the Dragon King's aquatic minions, who transport her to his underwater , where her earns her a place of honor and relative happiness. Overwhelmed by longing for her father, Shimcheong implores the for release; moved by her devotion, he transforms her into a magnificent lotus flower and dispatches it to float to the surface world. Local fishermen retrieve the extraordinary bloom and present it to the land's widowed king, who lacks an heir and keeps it in his chambers. That night, the lotus opens to reveal the radiant Shimcheong, whom the king immediately marries, elevating her to . In her new role, she decrees a lavish inviting every blind man in the realm to , secretly hoping to reunite with her father. During the event, Shimcheong recognizes Shim Hakkyu's voice among the attendees; their tearful embrace triggers a , restoring his eyesight and, by extension, the vision of all blind guests present, culminating in familial restoration and communal joy. The film's adaptation incorporates Disney-style elements, such as companions aiding the protagonists and vivid depictions of the sacrifice, framing the narrative as an epic fantasy adventure.

Release and Distribution

Premiere Events

The theatrical premiere of Empress Chung occurred in on August 12, 2005, where it opened across 60 screens nationwide, marking the first major release of a jointly produced North-South Korean animated feature. The event underscored the film's symbolic role in inter-Korean cooperation, with screenings including a debut at Seoul's Ani Cinema, though specific red-carpet details or high-profile attendee lists remain undocumented in primary reports. Three days later, on , 2005—coinciding with the 60th anniversary of Korea's liberation from Japanese rule—the film premiered in on six screens, following a redubbing into dialect by local actors to align with regional linguistic norms. This staggered yet near-simultaneous rollout across the represented a historic , as Empress Chung became the first motion picture to screen publicly in both nations in such coordinated fashion, facilitated by diplomatic agreements amid ongoing tensions. The North Korean screenings were limited in scale, reflecting infrastructural constraints, but highlighted rare cultural exchange efforts.

Simultaneous Release in Both Koreas

Empress Chung premiered in on August 12, 2005, across 51 screens, followed immediately by its release in on August 15, 2005, on six screens. This coordinated rollout represented the first simultaneous theatrical release of any film in both Koreas since the peninsula's division in 1945, facilitated by the joint North-South production agreement. The timing aligned with the 60th anniversary of Korea's liberation from Japanese rule on , , underscoring the release's symbolic intent as a of cultural unity amid ongoing political separation. Distribution in the North was limited to state-controlled venues, reflecting the regime's oversight of foreign-influenced media, while South Korean theaters handled broader commercial exhibition. This dual release highlighted rare inter-Korean cooperation in , with the film's folk tale origins providing a neutral, shared heritage acceptable to both governments. However, logistical coordination required navigating divergent and approval processes, as North Korean authorities reviewed content for ideological alignment prior to screening. The event drew international as a potential soft-power bridge, though sustained viewership data from the North remains opaque due to limited reporting.

International Screenings

Empress Chung participated in the at the International Animation Festival in 2005, marking one of its early international exposures shortly before its domestic release. The film was also selected for the Future Film Festival in , , that same year, highlighting its appeal to global programmers despite production challenges from the inter-Korean collaboration. Further screenings occurred at the International Animated , where it received acclaim for its cross-border production novelty and adaptation of the traditional Korean folktale. These festival appearances underscored the film's symbolic role in , though it did not secure widespread theatrical distribution outside Korea, contributing to its limited global visibility and eventual scarcity. In later years, Empress Chung resurfaced at events like the Canlandıranlar Animators Festival in , tied to retrospectives on director Nelson Shin's work, reflecting sporadic interest in animation history rather than commercial revival. Overall, international screenings remained confined to niche festivals, aligning with the film's modest budget recovery and archival status rather than broad .

Reception and Awards

Critical Reviews

Empress Chung received limited critical attention outside Korea due to its restricted international distribution and subsequent status as partially . In Korean academic and media discourse, the film was praised for its faithful yet modernized adaptation of the Shim Cheong-jeon folktale, transforming a classic narrative into a visually engaging animated feature suitable for global audiences. One analysis described it as a "perfect modern edition" of the traditional story, elevating to potential international branding through innovative techniques. User-generated ratings provide additional insight into reception, with the film averaging 7.0 out of 10 on based on 33 votes, reflecting appreciation for its storytelling and production values amid the collaboration's novelty. On Rotten Tomatoes, audience comments highlighted the animation's originality and conceptual strength, though some critiqued it as primarily child-oriented and merely "decent" in execution. Later retrospective listings in animation compilations commended its cultural depth, intricate visuals, and emotional resonance, positioning it among notable Korean animated works for blending with fantastical elements. These assessments underscore the film's technical merits, derived from the joint North-South production involving approximately 500 animators from North Korea's , despite broader commercial challenges.

Audience Response and Box Office

"Empress Chung" garnered modest commercial performance in , where it accumulated 72,365 admissions and grossed approximately $277,566 during its theatrical run. The film opened on 51 screens on August 12, 2005, capitalizing on its historic status as the first simultaneous North-South Korean release, yet it failed to achieve blockbuster status amid competition from other domestic animations and live-action titles. No official figures exist for , where the film premiered across 6 screens on August 15, 2005, reflecting the regime's limited transparency on economic data and the scarcity of commercial cinema infrastructure. Attendance in the North was likely bolstered by state promotion of the film's unifying theme, drawn from the traditional "Simcheong" folktale emphasizing , though independent verification remains unavailable. Audience reception in was lukewarm, with the film's niche appeal to families and its political symbolism failing to drive widespread attendance despite pre-release buzz. On platforms like , it holds a 7.0/10 rating from 33 user votes, suggesting appreciation among a small viewer base for its quality and cultural narrative, but broader metrics indicate underperformance relative to contemporaries like "," which drew over 107,000 admissions. The lack of distribution further limited post-theatrical engagement, contributing to its near-lost status.

Festival Accolades

Empress Chung received recognition at several international animation festivals prior to its release. At the Annecy International Animation Festival, the project won a special prize in the competition for works in progress. The film screened at the edition of the same festival, highlighting its technical and narrative ambitions amid ongoing production. Domestically, it garnered the Grand Prix for feature-length films at the 8th International Cartoon and Festival (SICAF) in 2004, affirming its status as a landmark in Korean . This award underscored director Nelson Shin's vision, drawing on traditional Korean while employing advanced 3D techniques developed over six years. Further accolades included a top prize at the 2005 International and , where it competed against global entries. The film also entered official competition at the 2005 Ottawa International , though specific awards from that event remain unconfirmed in available records. These honors, despite the film's later commercial challenges and partial status, positioned Empress Chung as a pioneering effort in cross-Korean collaboration and innovation.

Legacy and Availability

Cultural and Political Significance

Empress Chung represents a milestone in Korean cultural expression through its adaptation of the traditional folktale Shim Cheong-jeon, emphasizing themes of , sacrifice, and restoration that resonate across the Korean Peninsula. The story follows Shim Cheong, a devoted daughter who sacrifices herself at sea to cure her blind father's eyesight, only to be elevated to empress through divine intervention, symbolizing moral virtue rewarded. As an animated feature, it aimed to preserve and globalize this shared , with director intending to showcase authentic Korean traditions to international audiences. The film's production involved blending artistic styles from both Koreas, highlighting as a vehicle for cultural continuity amid division. Politically, the film's joint production between South Korea's Productions and North Korea's —employing around 500 North Korean animators—marked the first feature-length collaboration of its kind, costing approximately $6 million. Its simultaneous release on August 12, 2005, in across 51 screens and August 15 in on six screens coincided with the 60th anniversary of , evoking shared anti-colonial history and aspirations for reconciliation during South Korea's era. The North Korean version was dubbed in the dialect by local actors, accommodating linguistic differences while underscoring the project's cross-border intent. This endeavor symbolized tentative , fostering rare inter-Korean cooperation in amid geopolitical tensions, though its lack of home video distribution limited broader dissemination. Critics noted its potential to bridge divides through shared narratives, yet the film's obscurity post-release reflects persistent barriers to sustained unity. In North Korea's animation sector, it exemplified SEK Studio's technical prowess, often outsourced for Western projects, positioning the film as a bridge between isolated industries and global markets.

Lost Media Status

Empress Chung has attained the status of partially primarily due to the lack of any official or following its on September 23, 2005. No DVD, Blu-ray, or streaming versions have been produced or made publicly available, restricting access to the full 93-minute feature beyond initial screenings in North and and select international festivals. The only confirmed surviving elements accessible include a promotional trailer remastered in full HD, released in 2020, and a brief sound test clip. These fragments, totaling under five minutes, have fueled discussions in communities, but no complete copies have surfaced on public platforms or archives as of 2025. Reports of rare festival screenings, such as one approximately two years prior to , indicate that physical prints may still exist in controlled settings, yet these events remain inaccessible to the general public and unverified for full runtime availability. This scarcity stems from the film's unique inter-Korean co-production, which, despite initial symbolic success, did not translate to sustained commercial viability or preservation amid fluctuating diplomatic relations between the two nations. The absence of export deals or archival digitization efforts has perpetuated its obscurity, distinguishing it from more widely preserved animated works from the era.

Recent Developments and Preservation Efforts

In the years following its 2005 release, Empress Chung has become scarce, with no official home media distribution and limited digital access, prompting interest from lost media enthusiasts. Screenings reportedly occurred at film festivals as late as 2019, and full versions were publicly viewable online until mid-2019 via certain Korean websites, after which access ceased. A remastered version of the film's trailer in full HD was uploaded to YouTube on August 25, 2020, representing one of the few high-quality surviving promotional materials. Independent searches by film researchers have continued into the 2020s, including inquiries into archival holdings in libraries and attempts to contact production entities like KOAA Films. Videos analyzing the film's lost status, such as one published on August 5, 2023, emphasize its last confirmed viewings in North Korean theaters and the challenges posed by inter-Korean political tensions in recovering masters. No institutional restoration projects by South Korean or international film bodies have been documented, leaving preservation reliant on private efforts. As of July 2025, American and Korean film enthusiasts were still actively seeking viewable copies through online communities, underscoring the film's enduring obscurity despite its historical significance as a cross-border co-production. The absence of verified full recoveries highlights broader issues in archiving collaborative works from divided nations, where geopolitical barriers impede systematic preservation.

References

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  44. https://www.youtube.com/watch?v=wqRhUw5rw3U
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