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Nosferatu. Revista De Cine (Donostia Kultura)

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Nosferatu. Revista De Cine (Donostia Kultura) Nosferatu. Revista de cine (Donostia Kultura) Título: Diccionario de directores Autor/es: Cueto, Roberto Citar como: Cueto, R. (2007). Diccionario de directores. Nosferatu. Revista de cine. (55):201-208. Documento descargado de: http://hdl.handle.net/10251/41531 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: Diccionario de directores Roberto Cueto NOTA: La intención de este diccionario es dar cuenta de los rea lizadores más destacados del reciente cine coreano, bien por la calidad de su obra, bien por sus éxitos en taqu il a y capacidad para abrir nuevos cam inos en el cine prod ucido en el país. Es por ello que no aparecen cineastas ya "clásicos" como Im K won-taek o Park Kwang-su. Tampoco se referencian aquí los directores cuya obra es minuciosamente estudiada en el bloque de artícul os dedi cado a directores de este número. Para acotar el terreno se han incluido di rectores con al menos dos películas estrenadas, salvo excepciones de óperas primas que hayan sido sign ificativas en el último cine coreano. Asumimos que es un criterio ta n arbitrario como cua lquier otro, máxi me si considera­ mos que sólo en este último año han debutado unos cuarenta nuevos reali zadores. Nos disculpamos as í por posibles ausencias y/u omisiones. AHN Byung-ki (o AHN Byeong-ld) dou1· (l'v!ilae, 2002) fue su primera películ a de fic­ Conocido como el "Hitchcock coreano", Ah n ha ción, a la que siguió Flying Boys (Ballegyoseupso, sido uno de los pioneros de la moderna ola de cine 2004), comedia dramática sobre las peripecias de fa ntástico y de horror en Corea del Sur. Su debut, unos estudiantes de ball et. Nightmare (Gmvi, 2000), es una aportación al cine de terror adolescente inspirada en modelos america­ CHANG Yoon-hyun (n. 1967) nos que, pese a sus numerosos tópicos, fue bien Tras cursar estudios de cine en Hungría y producir 201 recibida en su país. Continuó esa línea con Phone algunas películas -entre ell as, la polémica cinta polí­ (Pon, 2002), una historia de terror imitada en la ti ca Befo re the Strike ( 1990)- debuta con The producción japonesa Llamada perdida (One Missed Contact ( Cheob-sok, 1997), una historia romántica Cal/; Takashi Miike, 2003). Otra ap01t ación al fan­ rodada con indudable estilo que lanzó a la fa ma a la tástico fue su tercera cinta, Ouija Board (Bunshin­ actriz Jeon Do-yeon. Gran éxito también tendría su saba, 2004), que se encuadra en el subgénero del siguiente película, Tell Me Something (Telmis­ yeogo-goedam, o película de fantasmas en internado seomding, 1999), thriller de enrarecida atmós fera fe menino. Su última películ a, A. P.T (2006), es otro sobre un asesino en serie. Después dirige Some thriller de suspense. (2004), historia policiaca con el narcotráfico como telón de fondo. Su úl tima película es la producción BYU N, Daniel H. (n. 1966) (o BY UN Hyuk) hi stóri ca Hwang Jin Yi (2007), la historia de un a Licenciado en Literatura Francesa y Cine por la Aca­ gisaeng (cortesana) ambientada en la era Chosun. demi a de Cine de Corea, hizo su primer largo, lnter­ view (2000), sigui endo las premisas del manifiesto CHO Jin-gyu Dogma. En su siguiente película dio un radica l giro Su ópera prima, la alocada y divertida comedia poli­ al estrenar un producto comercial de impecable fac­ ciaca Mi mujer es una gángster (Jopog manura, tura: Scarlett Letter (Julwnggeulssi, 2004) es un 200 1), fue un gran éxito de taq uil la, potenció la thriller eróti co que se hizo tristemente célebre por el moda de las comedias con gánstcr en Corea y ha posterior suicidio de su protagonis ta, la act ri z Lee dado pie a una franq uicia. Cho escribió el gu ión de la Eun-ju, arrepentida por haber rodado escenas de segunda entrega, My Wifc ls a Gangster 2 (Jopog desnudos. mamtra 2, 2003) y ha dirigido la tercera, My Wife Is a Gangster 3 (Jopog mm111ra 3, 2006). En 2004 BYUN Young-joo (n. 1966) dirigió ot ra comedia policiaca, Who's Got the Licenciada en cine por la Universid ad de JoongA ng, Tape? (Eoggaedongmu). esta reali zadora se dio a conocer con una tril ogía de documentales sobre las mujeres corea nas obligadas a CHO Min-ho (n. 1966) prostitui rse durante la ocupación japonesa: The Licenciado por la Academia de Corea de Artes Cine­ Murmu.-ing (Najeun moksori, 1995), Habitual matográficas, se in ició en el cine como ayudante de Sadness ( 1997) y My Own Breathing (1999). Ar- dirección. Debuta con la comedia Jungle Juice (2002), retrato de unos delincuentes de poca monta. JANG G il-su (n. 195 5). (o CHANG K il-soo) Su segunda película es ya una producción para la Profesor de cine en la Universidad de Suwon, Jang gran industria, el vibrante thriller de acción Les for­ ha dirigido trece películas desde su debut en 1985 midables (Gong-jeok, 2006), una buddy-movie que con lnto thc Heat of the Night (Bamui yeolgi­ emula modelos americanos aunque mantiene cierta sokeuro) . Entre sus películas de la década de los 90 personalidad propia. destacan Thc Silver Stallion (EtmiiiOI/eun oji onlt­ neunda, 1991), Father (Abeoji, 1997), Paradise CHOI Dong-bun (n. 197 1) Lost (Siti/rakwon, 1998) y el melodrama rural T he Su ópera prima, The Big Swindle (Beomjweui jae­ Crescent Moon (Cho-seung da/ gwo Bam-bae, guseong, 2004), es un sentido homenaje al tradicio­ 2002). Otras películas: Love Song of Lethe (Le­ nal film noir americano con sus buenas dosis de tlteui yeongo, 1986), America, A merica ( 1988), iron ía. Una línea que prolonga en su siguiente film, C ountry of Fire (Bului nora, 1989), When Falls The War of F lowers (Tajja, 2006), adaptación de Down Has W ings ( Cllllrakllaneun geoslleun nalgae­ un cómic ambientado en el mundo de los timadores ga itda, 1990), S usan 's Bdn k Arira ng (Su san y jugadores profesionales. Brinkui Arirang, 1992), Western A ven u e ( 1993 ), 1 Wish For What Is Forbiddcn to Me (Naneun C HOO Chang-min (n. 1966) somanglmada naege gewnjidoin geoseul, 1994). Tras trabajar como ayudante de directores como Ki m Sung-su o Chan Mun-il, debuta con Mapado JEON Soo-il (n. 1959) (2005), simpática comedia sobre una isla únicamente Licenciado en Cine y Teatro por la Universidad de habüada por mujeres. Su segunda película, Lost in Kyungsung, continuó sus estudios de cine en la Uni­ Love (Sorong-eul nochida, 2006), supuso, en cam­ versidad de París. Su debut Wind Echoing in My bio, un giro hacia el melodrama romántico. Miud ( 1997) le valió un reconocimiento crítico que quedó consolidado con sus dos siguientes películas, HUR Jin-ho (n. 1963) Tbe Bird That S tops in the Air (Soeneun pyegok­ L icenciado en Psicología por la Universidad de Yon­ suneul keruinda, 1999) y T ime Between Dog and sai, Hur entró en el cine como ayudante de dirección Wolf (2005). Su último trabajo, The Right to Ra­ del director Park Kwang-su. En 1998 debuta con vage Myself (Ncmetm nareul pogoellol gwol/iga 202 Navidad en agosto (Palwolui Christmos), exitoso itda, 2005), es una indagación sobre el suicidio. film que ya deja claro su interés por el género con el que más se le identifica, el melodrama. Un bonito J EON Yun-su (n. 1962) día d e p•·imavera (Bomnoletm gonda, 2001) y Debutó con el drama Bésame mucho (200 1), aun­ April Snow (Woe-chool, 2005) son nuevas incursio­ que es más conocido por su tllriller de ciencia fic­ nes en melancólicas hi storias de amor que han goza­ ción Yesterday (2002), un blockbuster de indudable do de gran aceptación por parte del público. Su últi­ impacto visual, aunque de trama un tanto confusa. mo trabajo hasta la fecha es Happiness (2007). My Girl and 1 (Parang-juuibo, 2005) es, en cam­ bio, un convencional drama romántico. TM Kyung-soo (n. 1967) Licenciado en Económicas por la Uni versidad de So­ JEONG Jae-eun (n. 1969) gang, se inició en el cine como ayudante de direc­ Esta li cenciada por la Universidad Coreana de Arte ción y comenzó a rodar varios cortometrajes, al se ganó el reconocimiento internacional gracias a su ti empo que también se dedicaba a la producción en ópera prima Take Care of My Cat (Goyangileul televisión. Su primer largometraj e fue la comedia butaglwe, 200 1), una de las más populares cintas del Can' t Live W ithout Robbery 1 Steal If You Can reciente cine coreano. Este delicado retrato sobre el 1 T hief Maker (Dodookmatgo motsalo, 2002), pero paso a la madurez de tres j óvenes ami gas fu e segui­ resultó más interesante su siguiente trabajo, Bystan­ do de T he Agressives (Toe Poong Toe Yang, ders 1 Diary of June (Yu-wol-ui il-gi, 2005), que, 2005), un film que se centra, en cambio, en los bajo la apariencia de un serial killer thriller, lanza rih1a les de la adolescencia masculina con el ambiente una crítica mirada al sistema educati vo coreano.
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