帮我大体翻译一下，加50分。

Since the 1990s, South Korean cinema has emerged as the latest noteworthy national cinema by virtue of both its commercial and critical success.从1990年开始,韩国电影凭借商品化关键的成功在已经成为最新值得关注的国家电影.In this dissertation, I examine the role of a new generation of filmmakers in bringing out a second film renaissance in Korea. 在此专题中,我调查在韩国新一代的电影人带来的第二电影复兴This new generation of directors can be identified as the 386 Generation---born in the 1960s, enrolled in college during the 1980s, and trained in film schools domestic and abroad.这些新一代的导演可以被确定为386一代---生于六十年代,就读于八十年代的大学,并且培养在国内和国外的电影学院.While in college during the 1980s, members of the 386 Generation witnessed the uprising in Kwang-ju, endured the dictatorship of then president Chun Doo-hwan, and became politically active by being involved in demonstrations and pro-labor 在八十年代的大学中,这些386一代目睹了起义的光州,忍受的独裁统治全斗焕,并开始积极参与游行示威和工人运动.When the 386 Generation directors debuted in the early 1990s, the Korean industry was in the process of restructuring under pressures from the U.S. to lift protective measures and allow direct distribution by major U.S. studios. 在90年初期当386一代导演亮相时,韩国正处于转型过程的压力之下,由美国解除保全措施,使直接分配到美国大制片厂.The efforts to cope with this crisis were bifurcated. The Korean film industry attempted to compete with Hollywood cinema by producing commercially viable films, including blockbusters and new genre films, while directors such as Lee Chang-dong, Kim Ki-duk, and Hong Sang-soo found a niche in the art cinema circuit.;为应付这次危机, 韩国电影产业的企图与好莱坞的电影制作商业影片 包括猛片和新的类型电影,而导演如李沧东,金其杜 , 洪桑洙在艺术的道路上找到了一席之地;
In this project, I underscore the specificities of contemporary Korean cinema by focusing on both commercially driven films and art cinema.
在这个项目中, 我要强调的特殊性当代韩国电影的重点放在商业驱动电影和艺术电影.
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