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Yun Mi Hwang Phd Thesis
SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY Yun Mi Hwang A Thesis Submitted for the Degree of PhD at the University of St Andrews 2011 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1924 This item is protected by original copyright This item is licensed under a Creative Commons Licence SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY YUN MI HWANG Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2011 DECLARATIONS I, Yun Mi Hwang, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student and as a candidate for the degree of PhD in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. I, Yun Mi Hwang, received assistance in the writing of this thesis in respect of language and grammar, which was provided by R.A.M Wright. Date …17 May 2011.… signature of candidate ……………… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
D2492609215cd311123628ab69
Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films. -
What Are You So Scared About?: Understanding the False
What Are You So Scared About?: Understanding the False Fear Response to Horror Films Sarah Seyler HSS 490-01H Faculty Director: Dr. Jeffrey Adams April 22nd, 2019 1 When a horror movie delivers a scare to an audience member, it is able to achieve something that is entirely illogical; it has made someone scared of something that poses no threat. So what is the logic behind a horror film? What aspects make a horror movie, something that can pose no physical threat, scary? In order to solve this question, many different aspects of filmmaking in horror will be looked at, including filmmaking techniques, psychological manipulation through storytelling, and the exploration of certain cultural elements in horror films that contextualize the fears a society has. By analyzing the different aspects of horror, we can understand how and why a movie is able to override the rational side of a viewer’s brain and make them scared. We can then understand why these aspects cause the body to have a physical reaction to the false threat, and why some people respond more intensely to horror than others. The goal of any movie is to elicit some sort of emotional response in the audience observing the film, and this is no different for horror movies. However, instead of a joy or sadness response, the horror movie aims to cause an observer to feel some sort of fear -- whether that be an immediate physical fear or longer-lasting psychological distress. Scaring people may sound simple, however it is actually a pretty complex process, as the film must be logical enough for the audience to buy into, allowing them to become immersed in the movie. -
K O R E a N C in E M a 2 0
KOREAN CINEMA 2006 www.kofic.or.kr/english Korean Cinema 2006 Contents FOREWORD 04 KOREAN FILMS IN 2006 AND 2007 05 Acknowledgements KOREAN FILM COUNCIL 12 PUBLISHER FEATURE FILMS AN Cheong-sook Fiction 22 Chairperson Korean Film Council Documentary 294 206-46, Cheongnyangni-dong, Dongdaemun-gu, Seoul, Korea 130-010 Animation 336 EDITOR-IN-CHIEF Daniel D. H. PARK Director of International Promotion SHORT FILMS Fiction 344 EDITORS Documentary 431 JUNG Hyun-chang, YANG You-jeong Animation 436 COLLABORATORS Darcy Paquet, Earl Jackson, KANG Byung-woon FILMS IN PRODUCTION CONTRIBUTING WRITER Fiction 470 LEE Jong-do Film image, stills and part of film information are provided by directors, producers, production & sales companies, and Film Festivals in Korea including JIFF (Jeonju International Film Festival), PIFF APPENDIX (Pusan International Film Festival), SIFF (Seoul Independent Film Festival), Women’s Film Festival Statistics 494 in Seoul, Puchon International Fantastic Film Festival, Seoul International Youth Film Festival, Index of 2006 films 502 Asiana International Short Film Festival, and Experimental Film and Video Festival in Seoul. KOFIC appreciates their help and cooperation. Contacts 517 © Korean Film Council 2006 Foreword For the Korean film industry, the year 2006 began with LEE Joon-ik's <King and the Clown> - The Korean Film Council is striving to secure the continuous growth of Korean cinema and to released at the end of 2005 - and expanded with BONG Joon-ho's <The Host> in July. First, <King provide steadfast support to Korean filmmakers. This year, new projects of note include new and the Clown> broke the all-time box office record set by <Taegukgi> in 2004, attracting a record international support programs such as the ‘Filmmakers Development Lab’ and the ‘Business R&D breaking 12 million viewers at the box office over a three month run. -
1 Dis-Placing the East/West Binary: Aesthetic and Cultural Crossover In
1 Dis-Placing the East/West Binary: Aesthetic and Cultural Crossover in Film and Visual Culture Cardiff, 2 November 2012 A Symposium Report by Hiu M. Chan, Cardiff University When that other is Asia and the “Far East”, it always seems as if the European intellectual must speak in absolute terms, making this other an utterly incomprehensible, terrifying, and fascinating spectacle ... [T]he “native” is turned into an absolute entity in the form of an image (the “empty” Japanese ritual or “China loam”), whose silence becomes the occasion for our speech. (Chow 33, 34) Dis-Placing the East/West Binary was a one-day symposium organized by Paul Bowman at Cardiff University in November 2012. The conference aimed to explore displacements and transformations of the relations of East Asian film with Euro-American film and visual culture; furthermore, it also aimed to examine the complexity of “place” (space) of Eastern and Western representations. Surprisingly for such an important research topic, this symposium has been one of the very few to focus on a similar theme within film and visual studies. Paul Bowman, who has been researching and writing on the work of Rey Chow, and has a particular interest in studies deconstructing the East/West binary, was unarguably a most suitable scholar to host this symposium. The first speaker, Fraser Mckissack, a doctoral student from the University of Auckland, presented a paper on “Cowboys, Samurai and the Crisis of Masculinity: Cinematic Representations of Manhood in the US and Japan in the Post-war Period”. His paper discussed how director Takashi Miike challenges the East/West and masculine/feminine binaries in Sukiyaki Western Django (2007), a film that represents a meeting point of influences, a culmination of years of cross-cultural remakes, reimaginings and negotiations of what it means to be American, Japanese, male, female, homosexual, heterosexual and others. -
Film at Lincoln Center New Releases Series November 2019
Film at Lincoln Center November 2019 New Releases Parasite Synonyms Varda by Agnès Series Poetry and Partition: The Films of Ritwik Ghatak Jessica Hausner: The Miracle Worker Rebel Spirit: The Films of Patricia Mazuy Relentless Invention: New Korean Cinema, 1996-2003 Members save $5 Tickets: filmlinc.org Elinor Bunin Munroe Film Center 144 West 65th Street, New York, NY Walter Reade Theater 165 West 65th Street, New York, NY NEW RELEASES: STRAIGHT FROM SOLD-OUT SCREENINGS AT NYFF! Playing This Month Showtimes at filmlinc.org Members save $5 on all tickets! Neon Courtesy of Kino Lorber HELD OVER BY POPULAR DEMAND! HELD OVER BY POPULAR DEMAND! OPENS NOVEMBER 22 “A dazzling work, gripping from beginning to “Astonishing, maddening, brilliant, hilarious, “A fascinating, informative, and reflective end, full of big bangs and small wonders.” obstinate, and altogether unmissable.” swan song that gives Varda the final word.” –Time Out New York –IndieWire –Tina Hassannia, Globe and Mail Parasite Synonyms Varda by Agnès Dir. Bong Joon Ho, South Korea, 132m In Bong Dir. Nadav Lapid, France/Israel/Germany, Dir. Agnès Varda, France, 120m When Agnès Joon Ho’s exhilarating new film, a threadbare 123m In his lacerating third feature, director Varda died earlier this year at age 90, the world family of four struggling to make ends meet Nadav Lapid’s camera races to keep up with the lost one of its most inspirational cinematic gradually hatches a scheme to work for, and as adventures of peripatetic Yoav (Tom Mercier), radicals. From her neorealist-tinged 1954 fea- a result infiltrate, the wealthy household of an a disillusioned Israeli who has absconded to ture debut La Pointe Courte to her New Wave entrepreneur, his seemingly frivolous wife, and Paris following his military training. -
Goldsmiths College University of London Locating Contemporary
Goldsmiths College University of London Locating Contemporary South Korean Cinema: Between the Universal and the Particular Seung Woo Ha A thesis submitted for the degree of Doctor of Philosophy to the department of Media and Communications January 2013 1 DECLARATION I, Seung Woo Ha confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signed……………………….. Date…..…10-Jan-2013……… 2 ABSTRACT The thesis analyses contemporary South Korean films from the late 1980s up to the present day. It asks whether Korean films have produced a new cinema, by critically examining the criteria by which Korean films are said to be new. Have Korean films really changed aesthetically? What are the limitations, and even pitfalls in contemporary Korean film aesthetics? If there appears to be a true radicalism in Korean films, under which conditions does it emerge? Which films convey its core features? To answer these questions, the study attempts to posit a universalising theory rather than making particular claims about Korean films. Where many other scholars have focused on the historical context of the film texts’ production and their reception, this thesis privileges the film texts themselves, by suggesting that whether those films are new or not will depend on a film text’s individual mode of address. To explore this problem further, this study draws on the concept of ‘concrete universality’ from a Lacanian/Žižekian standpoint. For my purpose, it refers to examining how a kind of disruptive element in a film text’s formal structure obtrudes into the diegetic reality, thus revealing a cinematic ‘distortion’ in the smooth running of reality. -
Song Kang-Ho and the Uncanny Face of the Korean Cinema
ACTA KOR ANA VOL. 14, NO. 1, JUNE 2011: 33–71 SOMEWHERE BETWEEN ANTI-HEROISM AND PANTOMIME: SONG KANG-HO AND THE UNCANNY FACE OF THE KOREAN CINEMA By BRIAN YECIES This article explores the trajectory of Song Kang-ho’s on-screen performances from the release of his fourth film, Number 3 (1997), to one of his most recent films, Thirst (2009). As a case study, it reveals new insights about this popular and representative actor’s numerous screen personae and how they have enabled audiences to peer into a cine- matic surface that reflects back a mixture of anti-heroism and pantomime. Beneath the many costumes and performance styles he adopts, audiences have come to see a human being with everyday problems and concerns. In a way reminiscent of the French panto- mime clown Pierrot, Song’s characters reflect a depth of human feeling and compassion modulated by a comic undercurrent—the tension between these overlapping layers is precisely what holds his various personae together. Key words: Song Kang-ho, Korean Cinema, stardom, Park Chan-wook, Kim Jee-woon INTRODUCTION Every actor and actress constructs a persona over the course of his or her career, but few become stars. A star is an actor whose persona transcends the sum total of his or her performances (Belton 1994: 89). Song Kang-ho is a classic movie star whose acting ability is well known to the film industry and whose performances are appreciated by audiences in South Korea (hereafter Korea) and abroad. He has acted in some of the contemporary Korean cinema’s most profitable and critically acclaimed feature films, productions which have contributed to the national film industry’s current global notoriety. -
La Saga the General's Son De Im Kwon-Taek
Las nuevas narrativas, en el entorno social Universidad de La Laguna, diciembre de 2019 La mafia en el cine coreano pre hallyu: la saga The General’s Son de Im Kwon-taek (1990-1993) The mafia in the pre-Hallyu Korean cinema: The Im Kwon-taek’s ‘The General’s Son’ film series Luis Miguel Machín Martín – Universidad de La Laguna– luismachinm[arroba]Gmail.com Resumen: La explosión del cine coreano a finales de los años 90 del siglo XX se produjo bajo el amparo del fenómeno conocido como ola coreana o Hallyu, fenómeno en el que la cultura y el arte coreanos han alcanzado gran difusión e importancia a nivel nacional y global. Dentro del cine coreano contemporáneo desarrollado a partir del Hallyu uno de los géneros más importantes ha sido el criminal, con películas como Memories of Murder (Bong Joon-ho, 2003) o A Bittersweet Life (Kim Jee-woon, 2005), entre muchas otras, alcanzando un gran éxito de público y crítica tratando temas relacionados con asesinatos y con la mafia. No obstante, antes de que estos temas se popularizaran en el cine de la ola coreana, ya existían precedentes en el cine nacional que anticipaban la diseminación del género en el cine coreano contemporáneo. Uno de esos precedentes más próximos temporalmente es la saga The General’s Son (Janggunui adeul), también conocida como Son of a General, del director Im Kwon-taek, compuesta por tres películas realizadas en 1990, 1991 y 1992, y que narran la incorporación y ascenso de un joven vagabundo en una organización criminal en el contexto de la Corea ocupada por Japón antes de la Segunda Guerra Mundial. -
Clicando Aqui
Festival do Rio 2012 Rio de Janeiro Int'l Film Festival TEM O PRAZER DE APRESENTAR GRANDE GALA DE ABERTURA GONZAGA - DE PAI PARA FILHO DE BRENO SILVEIRA 27 DE SETEMBRO GRANDE GALA DE ENCERRAMENTO HEMINGWAY E GELLHORN DE PHILIP KAUFMAN 10 DE OUTUBRO Festival do Rio 2012 Rio de Janeiro Int'l Film Festival Uma Super-Simplificação de Sua Beleza A Negociação Michael Jackson - Bad 25 Além dos Muros A Última Vez que Vi Macau Fuga de Los Angeles Celeste e Jesse Para Sempre Vida e Morte de Marina Abramovic Segundo Bob Wilson Sonhos de uma Vida 5 CIRCUITO DO FESTival PAVILHÃO Armazém da Utopia (Armazém 6) Rua Rodrigues Alves, s/n – Cais do Porto RioMarket, Cine Encontro, Exposição. CINEMAS CENTRO CULTURAL JUSTIÇA FEDERAL CINEMARK BOTAFOGO Lotação: sala 1: 142 | sala 2: 56 Lotação: sala 3: 219 (inteira: R$ 10,00 | meia: R$ 5,00) (inteira: R$ 18,00 | meia: R$ 9,00) Av. Rio Branco, 241 - Centro Botafogo Praia Shopping Tel: (21) 3261-2550 Praia de Botafogo, 400 - Arco 800 - Botafogo Tel: (21) 2237-9481 CENTRO CULTURAL BANCO DO BRASIL Lotação: 102 CINÉPOLIS lagooN (inteira: R$ 6,00 | meia: R$ 3,00) Lotação: sala 5: 161 Rua Primeiro de Março, 66 - Centro (inteira: R$ 10,00 | meia: R$ 5,00) Tel: (21) 3808-2020 Estádio de Remo da Lagoa Av. Borges de Medeiros, 1.424 - Leblon CINECARIOCA Nova BRASÍLIA Tel: (21) 3029-2544 Lotação: 89 (inteira: R$ 4,00 | meia: R$ 2,00) ESTAÇão SESC BARRAPOINT Rua Nova Brasília, Pça do Terço, s/n Lotação: sala1: 119 Complexo do Alemão (inteira: R$ 16,00 | meia: R$ 8,00 | sescrio: R$ 6,00) Shopping BarraPoint Tel: (21) 7738-5241 Av. -
CJ CGV (079160 KQ) Growth Shifting to Overseas Markets
CJ CGV (079160 KQ) Growth shifting to overseas markets Entertainment 2Q earnings weaken amid slowing growth and unexpected expenses CJ CGV reported disappointing 2Q results, as unexpected expenses sharply eroded Results Comment margins. Nationwide theater attendance rose only 2.2% YoY in 2Q, putting an end to August 12, 2013 the double-digit growth that had continued since 4Q11. CJ CGV’s theater attendance (directly operated and franchise theaters combined) grew 14.4% YoY in 2Q, faster than the market average. 2Q non-consolidated revenue (Maintain) Buy increased 9.9% YoY, but operating profit slumped 50.2% YoY. OP margin was dragged down by higher SG&A expenses, such as rents and labor costs, as a result of an increased Target Price (12M, W) 63,000 number of theaters. Several non-operating expense items were booked, including F/X translation losses and impairment losses on rent deposits, while non-operating income Share Price (08/09/13, W) 51,200 declined due to a fall in deferred revenue related to mileage points. All in all, 2Q net profit plunged 92.2% YoY to W1.3bn. Expected Return 37% Consolidated revenue and operating profit came in at W210.7bn (+16.2% YoY) and W12bn (-40.8% YoY), respectively. This marked the first time consolidated earnings OP (13F, Wbn) 77 outstripped non-consolidated numbers, which we mainly attribute to improved margins Consensus OP (13F, Wbn) 84 at the firm’s subsidiaries in China and Vietnam, as well as 4DPLEX and Simuline. EPS Growth (13F, %) -34.0 Stable growth to resume in 3Q Market EPS Growth (13F, %) 17.4 P/E (13F, x) 22.0 In July, the firm’s directly operated theaters saw only a 3% YoY rise in attendance, partly Market P/E (13F, x) 9.2 due to the poor box office performance of the highly anticipated film Mr. -
Identification of Implicit Topics in Twitter Data Not Containing Explicit Search Queries
Identification of Implicit Topics in Twitter Data Not Containing Explicit Search Queries Suzi Park Hyopil Shin Department of Linguistics, Seoul National University 1 Gwanak-ro, Gwanak-gu, Seoul, 151-745, Republic of Korea mam3b,hpshin @snu.ac.kr { } Abstract This study aims at retrieving tweets with an implicit topic, which cannot be identified by the current query-matching system employed by Twitter. Such tweets are relevant to a given query but do not explicitly contain the term. When these tweets are combined with a relevant tweet containing the overt keyword, the “serialized” tweets can be integrated into the same discourse context. To this end, features like reply relation, authorship, temporal proximity, continuation markers, and discourse markers were used to build models for detecting serialization. According to our experiments, each one of the suggested serializing methods achieves higher means of average precision rates than baselines such as the query matching model and the tf-idf weighting model, which indicates that considering an individual tweet within a discourse context is helpful in judging its relevance to a given topic. 1 Introduction 1.1 Limits of the Twitter Query-Matching Search Twitter search was not a very crucial thing in the past (Stone, 2009a), at least for users in its early stages who read and wrote tweets only within their curated timelines real-time (Dorsey, 2007; Stone, 2009b; Stone, 2009c). Users’ personal interests became one of the motivations to explore a large body of tweets only after commercial, political and academic demands, but it triggered the current extension of the Twitter search service.