DOCSLIB.ORG

1 Asian Horror Film©1 Fall 2015 Rtf 370 (08910)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Asian Horror Film©1 Fall 2015 Rtf 370 (08910) 1 ASIAN HORROR FILM©1 FALL 2015 RTF 370 (08910) and ANS 372 (31503) Professor Lalitha Gopalan CMA 5.108 Telephone: 512-471-9374 E-mail: [email protected] Office Hours: Wednesday 1-3PM Class: W 5:00PM- 8:00PM CMA 6.170 Screening: Thursday 7:30-10PM CMA 3.116 This course assumes the student’s familiarity with classical horror films, European and American films to be precise, and the attendant theories on genre and spectatorship. While the theoretical speculations have taken American and European films as their models, they seem totally unprepared for the vibrant horror films emerging from Asia, India to Japan, and this is exactly our charge for the course—to better understand the cinematic style of Asian horror films. As any cinephile would testify while these films have stock figures such as ghosts and monsters, haunted houses, possessed women, and disasters they also question our settled ideas of beauty and disgust that imperceptibly shape our notions of racial, sexual, and national differences. The following required texts are available for purchase at the University Co-op. 1. Japanese Horror Cinema. Ed. Jay McRory. Honolulu: University of Hawaii Press, 2005. 2. Horror to the Extreme: Changing Boundaries in Asian Cinema. Eds. Jinhee Choi and Mitsuyo Wada-Marciano. Hong Kong: Hong Kong University Press, 2009. 3. Korean Horror Cinema. Eds. Alison Peirse and Daniel Martin. Edinburgh: Edinburgh University Press, 2013. 4. Sigmund Freud, The Uncanny. London: Penguin Books, 2003. 5. Susan Sontag, Regarding the Pain of Others. A reading packet is also available for purchase at Jenn’s Copy and Binding. Attendance: You are expected to be on time for class sessions and screenings. If for some unexpected reason you are absent for a class, you are expected to inform me via telephone or email. Please note that two or more absences will result in a lower final grade: B to C and so on. Class sessions: Please note that this course will be taught as a seminar class and not as a series of lectures. You are expected to bring the relevant texts to class and come fully 1 Please note that Lalitha Gopalan is the sole author of this syllabus and holds the copyright. 2 prepared for class discussions. Please be prepared to respond to my questions on particular aspects of the readings and films in class as well as initiating your own formulations of the texts. Be warned that you will be marked absent if you fail to bring the relevant texts to class. GRADES Grades for this class will avail of the plus/minus grading system: A, A-, and so on. Please note that this course has a substantial writing component and hence your final grade will be based on the following written assignments: 1. 50%: Based on 7-8 page paper to be submitted in two parts, two 5-7 page papers. You are expected to choose one film not assigned on the syllabus as your primary text for the entire semester. Please consult with me on your choice of films. Your first paper submission on this film (not graded) should offer a detailed segmenting of the entire film with a short bibliography. September 21: Segmenting Exercise and bibliography October 19: First submission, 4-5 pages December 9: Second submission, 7-8 pages. 2. 25%: Class presentation of a theoretical essay. After the first week of class, I expect you to sign up for a class presentation of one of the assigned essays in your syllabus. You will be allotted the entire class session to lead the discussion of an essay with ample help from the class. A draft version of your reading of the essay and film should be posted on Canvas for peer review. Please note that the draft should be posted no later than 6PM on Tuesday so that we can properly review it for our Wednesday class. A revised version is due the following Monday. 3. 25%: Film Journals. After each screening you are expected to spend a few minutes recording visual details from the films. You are strongly encouraged to expand on these impressions well after the screening so as to include reactions to readings and other films. Journals are due on September 28, October 26, and November 30. Papers are due in my mailbox by 2pm on the date of submission. Please be aware that your papers have to abide by the prevailing Honor Code of the university. I strongly encourage you to familiarize yourself with facilities available at the Writing Center. 3 Please be advised that readings and film screenings are subject to revision. Please note that you are encouraged not to communicate with me via e-mail on matters pertaining to class readings, assignments, and grades. I have designated office hours to discuss precisely such matters. SCHEDULE August 26: Introduction I. APOCALYPTICAL VISIONS Screening August 27: Black Rain (1988) dir. Shohei Imamura September 2 Mick Broderick, “Introduction.” READER Susan Sontag, “The imagination of disaster.” READER Carole Cavanaugh, “A working ideology for Hiroshima: Imamura Shôhei's Black rain.” READER Recommended: Susan Sontag, Regarding the Pain of Others. Recommended: Screening: Onibaba (1964) dir. Shindo Kaneto Adam Lowenstein, “Unmasking Hiroshima: Demons, Human Beings, and Shindo Kaneto’s Onibaba.” READER Screening September 3: Gojira (1954) dir. Ishiro Honda September 9 Philip Brophy, “Monster island; Godzilla and Japanese sci-fi/horror/fantasy.” READER Nancy Anisfield, “Godzilla/Gojira.” READER Chon Noreiga, “Godzilla and the Japanese nightmare: when ‘them’ is U.S.” READER Screening September 10: Akira (1988) dir. Katsuhiro Otomo September 16 Susan J. Napier, “Panic sites: The Japanese imagination of disaster from Godzilla to Akira.” READER Thomas Lamarre’s ‘From animation to anime: moving drawings, drawing movements.’ READER Screening September 17: Tetsuo: The Iron Man (1989) dir. Shinya Tsukamoto 4 September 23 Jay McRoy, “Introduction.” In Japanese Horror Cinema (Hereafter JHC) Part 3 Introduction and Chapter 7 JHC Recommended Elaine Graham, ‘Mapping the post/human.’ READER Masao Miyoshi and H.D. Harootunian, “Introduction.” READER H.D. Harootunian, “Visible discourses/invisible ideologies.” READER II. GHOSTS AND CINEMA Screening September 24: Ugetsu Monogatari (1953) dir. Kenji Mizoguchi September 30 Keiko MacDonald, ‘Ugetsu: Why is it a Masterpiece?’ READER David Bordwell, ‘Mizoguchi and the Evolution of Film Language.’ READER Marilyn Ivy, ‘National-cultural phantasms and modernity’s losses.’ READER Screening October 1: A Tale of Two Sisters (2003) dir. Kim Jee-woon October 7 Robert Cagle, ‘Diary of a Lost Girl: Victoriana, Intertextuality and A Tale of Two Sisters.’ In Korean Horror Cinema Leung Wing-Fai, ‘From A Tale of Two Sisters to The Uninvited: A Tale of Two Texts.’ In Korean Horror Cinema Jinhee Choi, ‘A Cinema of Girlhood: Sonyeo Sensibility and the Decorative Impuse in the Korean Horror Cinema.’ In Horror to the Extreme Screening October 8: R-Point (2004) dir. Su-chang Kong Recommended: Jacob’s Ladder (1990) dir. Adrian Lyne October 14 Steve Neale, “Aspects of ideology: and narrative form in the American war films.” READER Mark Morris, ‘War-Horror and Anti-Communism: from Piagol to Rainy Days.’ In Korean Horror Cinema III. REVENGE CYCLE Screening October 15: Audition (2000) dir. Miike Takashi October 21 Introduction Part 2 JHC Steffen Hantke, “Japanese horror under Western eyes.” Chapter 4 JHC Robert Hyland, ‘A Politics of Excess: Violence and Violation in Miike Takashi’s Audition.’ In Horror to the Extreme 5 Mika Ko, “The break-up of the national body.” READER Daniel and Wood, “Pain threshold: the cinema of Takashi Miike.” READER RECOMMENDED: The worlds of Japanese popular culture: gender, shifting boundaries and global cultures. Ed. D.P. Martinez. Screening October 22: Ju-On: The Grudge (2003) dir.Takashi Shimizu October 28 Jay McRoy, “Case Study.” Chapter 13 JHC MitsuyoWada-Marciano, ‘J-Horror: New Media’s Impact on Contemporary Japanese Horrror Cinema.’ In Horror to the Extreme Freud, “When a child is being beaten.” READER Screening October 29: Oldboy (2005) dir. Chan-wook Park November 4 Kyung Hyun Kim, ‘”Tell the Kitchen There’s Too Much Buchi in the Dumplings: Reading Park Chan-wook’s “Unknowable’ Oldboy.’ In Horror to the Extreme. Robert Cagle, ‘The Good, the Bad, and the South Korean: Violence, Morality, and the South Korean Extreme Film.’ In Horror to the Extreme. QUOTIDIAN HORRORS Screening November 5: Dumplings (2004) dir. Fruit Chan and Three Extremes November 11 Emile Yueh-yu Yeh and Neda Hei-tung Ng, ‘Magic, Medicine, Cannibalism: The China Demon in Hong Kong Horror.’ In Horror to the Extreme Ackbar Abbas, “Introduction: culture in a space of disappearance.” READER Ka-Fai Yau, “Cinema 3.” READER Barbara Creed, “Horror and the carnivalesque.” READER Recommended: Mikita Brottman, Offensive Films. RESERVE AUTEURS Screening November 12: Address Unknown (2001) dir. Kim Ki-duk November 18 Hye Seung Chung, ‘Beyond ‘Extreme’: The Cinema of Resentment.’ READER Screening November 19: Loft (2005) dir. Kiyoshi Kurosawa November 25 6 Chika Kinoshita, ‘The Mummy Complex: Kurosawa Kiyoshi’s Loft and J-Horror.’ In Horror to the Extreme. Jerry White, ‘Loft’ and ‘Interview.’ READER Freud, The Uncanny VISIONS OF EXCESS November 26: THANKSGIVING BREAK: No Class Screening. A CHOICE OF VIEWING ON YOUR OWN DEVICES: Ringu (1998) or The Eye (2002). Screening November 26: Ringu (1998) dir. Hideo Nakata Recommended: Ringu 2 (1999) dir. Hideo Nakata December 2 Eric White, “Case study.” Chapter 3 JHC Ramie Tateishi, “The contemporary horror film series.” In Fear without Frontiers READER Richard Dienst, “The outbreak of television.” READER OR Screening November 26: The Eye (2002) dir. Oxide Pang Chun December 2 Adam Knee, ‘The Pan-Asian Outlook of The Eye. In Horror to the Extreme. .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • A Tale of Two Sisters by Anne Coates
    A Tale Of Two Sisters By Anne Coates READ ONLINE If you are looking for a book A Tale of Two Sisters by Anne Coates in pdf form, then you have come on to the right website. We present the utter release of this ebook in doc, ePub, txt, PDF, DjVu forms. You may read A Tale of Two Sisters online either downloading. Moreover, on our site you can read guides and different artistic books online, either downloading theirs. We wish attract your regard what our website does not store the book itself, but we give url to the website wherever you may load or read online. If have necessity to downloading by Anne Coates A Tale of Two Sisters pdf, then you've come to the right website. We own A Tale of Two Sisters txt, doc, DjVu, ePub, PDF forms. We will be glad if you come back again. A tale of two sisters | the asian cinema blog A Tale of Two Sisters (??, ??). Director: Kim Jee-woon. Written: Kim Jee-woon. Country: South Korea. Year: 2003. “A Tale of Two Sisters” on Amazon. A tale of two sisters (film) - tv tropes A Tale of Two Sisters (aka Janghwa, Hongryeon, literally Rose Flower, Red Lotus) is a 2003 South Korean psychological horror film by Kim Ji-woon. It is both the A tale of two sisters - what time is it on tv? episode 3 series 1 cast Find out when A Tale of Two Sisters is on TV, including Series 1-Episode 3. Episode guide, trailer, review, preview, cast list and where to stream it on demand, A tale of two sisters (2003) | popmatters Arguably the most talked about Asian horror film since Ringu in 1998, the creepy A Tale of Two Sisters shocks and perplexes.
    [Show full text]
  • South Korean Cinema and the Conditions of Capitalist Individuation
    The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation By Jisung Catherine Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kristen Whissel, Chair Professor Mark Sandberg Professor Elaine Kim Fall 2013 The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation © 2013 by Jisung Catherine Kim Abstract The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation by Jisung Catherine Kim Doctor of Philosophy in Film and Media University of California, Berkeley Professor Kristen Whissel, Chair In The Intimacy of Distance, I reconceive the historical experience of capitalism’s globalization through the vantage point of South Korean cinema. According to world leaders’ discursive construction of South Korea, South Korea is a site of “progress” that proves the superiority of the free market capitalist system for “developing” the so-called “Third World.” Challenging this contention, my dissertation demonstrates how recent South Korean cinema made between 1998 and the first decade of the twenty-first century rearticulates South Korea as a site of economic disaster, ongoing historical trauma and what I call impassible “transmodernity” (compulsory capitalist restructuring alongside, and in conflict with, deep-seated tradition). Made during the first years after the 1997 Asian Financial Crisis and the 2008 Global Financial Crisis, the films under consideration here visualize the various dystopian social and economic changes attendant upon epidemic capitalist restructuring: social alienation, familial fragmentation, and widening economic division.
    [Show full text]
  • 8Th Korean Screen Cultures Conference Conference Programme
    2019 8th Korean Screen Cultures Conference Conference Programme UNIVERSITY OF CENTRAL LANCASHIRE JUNE 5-7 2019 SPONSORED BY THE KOREA FOUNDATION KSCC 2019 Programme Schedule & Panel Plan Wednesday 5th June Time Event Location 16:50-17:05 Meet at Legacy Hotel lobby and walk to UCLan Legacy Hotel 17:05-17:30 Early-bird registration open Mitchell Kenyon Foyer 17:05-17:30 Wine and Pizza Opening Reception Mitchell Kenyon Foyer 17:30-19:30 Film Screening: Snowy Road (2015) Mitchell Kenyon Cinema 19:30-19:55 Director Q&A with Lee, Na Jeong Mitchell Kenyon Cinema 20:00-21:30 Participants invited join an unofficial conference dinner Kim Ji Korean Restaurant Thursday 6th June 08:45-09:00 Meet at Legacy Hotel lobby and walk to UCLan Legacy Hotel 09:00-09:15 Registration & Morning Coffee Foster LT Foyer 09:15-09:30 Opening Speeches FBLT4 09:30-11:00 Panel 1A: Horror Film and Drama FBLT4 09:30-11:00 Panel 1B: Transnational Interactions FBLT3 11:00-12:20 Coffee Break Foster LT Foyer 11:20-11:50 Education Breakout Session FBLT4 11:20-11:50 Research Breakout Session FBLT3 11:50 -13:20 Panel 2A: Industry and Distribution FBLT4 11:50 -13:20 Panel 2B: Diverse Screens FBLT3 13:20-14:20 Buffet Lunch Foster Open Space 14:25-15:55 Panel 3A: History/Memory/Reception FBLT4 14:25-15:55 Panel 3B: Korean Auteurs FBLT3 15:55-16:15 Coffee & Cake Break Foster LT Foyer 16:15-17:15 Keynote: Rediscovering Korean Cinema FBLT4 17:15-18:45 Film Screening: Tuition (1940) Mitchell Kenyon Cinema 18:45-19:15 Q&A with Chunghwa Chong, Korean Film Archive Mitchell Kenyon Cinema
    [Show full text]
  • Images of Women in Korean Movies
    Images of Women in Korean movies Gina Yu Women have always been part of the Korean cinema. However, for the most part, they were marginalized. Woman characters in black and white silent films made during the Japanese occupation were played by men, who were as pretty as women. As in Chen Kaige’s Farewell My Con- cubine (1993) or John Madden’s Shakespeare in Love (1998), women could not appear on screen or stage because of gender discrimination. Then, after Lee Wol-hwa debuted as the first actress playing a woman’s role in The Vow Made below the Moon (1923, Yoon Baek-nam), it became possible for women to appear on screen. Of course, it was possible only on the condition that women would play fictional images. The Divided Image of Women in Their Cruel History There are two major images of women in Korean movies, mainly found in the melodrama and horror genres. One is the “good wife and wise mother” who conforms to traditional Confucianism and is locked into the ideology of chastity. The other is the wicked woman who is ei- ther a femme fatale or a seductress. With the first kind of image, women were victims or the embodiment of endurance in the cruel history of women. As many movies of this type were screened at international film festivals in the 1980s, the im- 261 Spinning the Tales of Cruelty towards Women (Lee Doo-yong, 1983) Hanging Tree (Jung Jin-woo, 1984) A Good Lawyer’s Wife (Im Sang-soo, 2003) 262 | Introduction to Korean Film age of tragic and fettered women was thought to be characteristic of Korean cinema.
    [Show full text]
  • Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies
    Asian Extreme as Cult Cinema: The Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies, Wilfrid Laurier University MA Film Studies, University of British Columbia A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Communications and Arts Hughes 2 Abstract This thesis investigates the way Western audiences respond to portrayals of excess and otherness in Japanese Extreme cinema. It explores the way a recent (2006-2016) cycle of Japanese Splatter (J-Splatter) films, including The Machine Girl (Noboru Iguchi, 2008) and Tokyo Gore Police (Yoshihiro Nishimura, 2008), have been positioned as cult due to their over-the-top representations of violence and stereotypes of Japanese culture. Phenomenological research and personal interviews interrogate Western encounters with J-Splatter films at niche film festivals and on DVD and various online platforms through independent distributors. I argue that these films are marketed to particular Western cult audiences using vocabulary and images that highlight the exotic nature of globally recognised Japanese cultural symbols such as schoolgirls and geisha. This thesis analyses J-Splatter’s transnational, cosmopolitan appeal using an approach informed by the work of Ernest Mathijs and Jamie Sexton, Matt Hills, Henry Jenkins, and Iain Robert Smith, who read the relationship between Western audiences and international cult cinema as positive and meaningful cultural interactions, demonstrating a desire to engage in more global experiences. The chapters in this thesis use textual analysis of J-Splatter films and case studies of North American and Australian film festivals and distribution companies, which include interviews with festival directors and distributors, to analyse the nature of the appeal of J- Splatter to Western audiences.
    [Show full text]
  • “2 Hermanas” Una Película De Kim Jee-Woon
    CINE EN V.O. DOMINGO | 13 | MARZO | 20.30 HORAS “2 hermanas” una película de Kim Jee-Woon ejecutada y el padre se convirtió en una mujer virtuosa que ayudaba a los niños como la reencarnación de Rosa y Loto. Sin embargo en las manos de Kim Jee-woo la historia se sitúa en un contexto contemporáneo y tanto la narración como las consecuencias de la histo- ria serán mucho mas complejas... “2 HERMANAS” SE PUEDE CONSIDERAR UN DRAMA FAMILIAR, UN THRILLER Y UN FILM DE TERROR Mientras que las versiones más tempranas de la historia incidían sobre todo en la clásica batalla entre el bien y el mal, la versión de Kim Jee-woon constituye un nuevo punto de vista sobre los conflictos sociales reflejados en la vida de una familia disfuncional. Conocido por sus comedias negras, The Quiet family y The Foul King, Kim LA LEYENDA DE ROSA Y LOTO Jee-woon ha hecho una película de terror pura, exclu- “2 hermanas” esta adaptado de una leyenda popular yendo cualquier atisbo de comedia. El lujoso decorado coreana “Janghwa y Hongryun” (“Rosa y la Flor de Loto”). de la casa actúa como contraste con el comportamien- El nombre de las dos flores es igual que el de las dos to inhibido, neurótico de las hermanas, añadiendo una hermanas protagonistas de este cuento clásico que nos tensión misteriosa a la película, siendo la base de los ha llegado de generación en generación. giros dramáticos de la historia, cuyo inesperado desen- Una mujer cruel torturaba a sus 2 hijastras, Rosa y Loto.
    [Show full text]
  • Disrupting Heritage Cinema: the Historical Films of South Korea
    Disrupting Heritage Cinema: The Historical Films of South Korea Louisa Jo Mitchell Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Languages, Cultures and Societies Centre for World Cinemas and Digital Cultures September 2018 i The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Louisa Jo Mitchell to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. © 2018 The University of Leeds and Louisa Jo Mitchell ii Acknowledgements This dissertation would not have been possible without backing from the White Rose College of Arts & Humanities. Their doctoral training programme and financial support have provided me with opportunities beyond my expectations and I am truly thankful for the studentship. I sincerely thank my supervisor Professor Paul Cooke for his unwavering support throughout all my years of postgraduate study and for keeping me going through the rough periods. I also offer my thanks to my secondary supervisor, Dr Irena Hayter, who provided help at key moments during this long process. I am grateful to everyone I have met over the years who have offered me their guidance, knowledge, and advice. I would particularly like to thank Professor Mette Hjort for hosting me during my time at Lingnan University, Hong Kong, and Dr Yun Mi Hwang for meeting with me in Seoul.
    [Show full text]
  • Off the Beaten Path
    Off the Beaten Path A Comprehensive List of the Horror Community’s Favorite Overlooked Films Tomatometer Audience Score Mentions Logline [Rec] (2007) 89% 82% Reporter Angela (Manuela Velasco) and her trusty cameraman Pablo are following a local fire crew for a segment of their reality television series "When You're Asleep" when the firefighters receive a distress call from a nearby apartment building. An elderly woman has become locked in her apartment; a routine call by any account. The police are already on the scene, so now it's up to firemen Manu (Ferran Terraza) and Alex (David Vert) to break down the door and ensure that no harm has come to her. Upon arriving at the building, everything appears normal. But the calm atmosphere at the moment betrays the horrors that begin to unfold after the firemen break down the tenant's door and experience something that no one would believe had it not been captured on camera. Later, as the building is surrounded and quarantined, Pablo continues to roll tape to ensure that whatever the outcome of this terrifying situation may be, there will be some evidence to ensure that the truth gets out. [Rec] 2 (2010) 68% 60% The highly anticipated sequel to one of the scariest films of all time, "[REC] 2" picks up 15 minutes from where we left off, taking us back into the quarantined apartment building where a terrifying virus has run rampant, turning the occupants into mindlessly violent, raging beasts. A heavily armed SWAT team and a mysterious government official are sent in to assess and attempt to neutralize the situation.
    [Show full text]
  • Oct – Nov 19 the Housemaid (1960) Image Courtesy of © Korean Film Archive & Propaganda Alternative Graphics 2 October to November 3 Schedule
    ASIAN Issue No 03 FILM ARCHIVE Oldham , Theatre Oct – Nov 19 The Housemaid (1960) Image courtesy of © Korean Film Archive & Propaganda Alternative Graphics 2 October to November 3 Schedule * The October–November schedule and programme line-up is correct at the time of print. MARK YOUR CALENDAR Any changes to the above will be updated and reflected on asianfilmarchive.org 2019 • NEW RELEASES • FACES OF THE KOREAN WOMAN October • SINGAPORE SHORTS ’19 • PERSPECTIVES FILM FESTIVAL DATE TIME FILM RUNTIME VENUE PAGE 04, FRI 8PM • OFFICIAL SELECTION 1 73 MIN OLDHAM THEATRE 12 05, SAT 4PM • OFFICIAL SELECTION 2 87 MIN OLDHAM THEATRE 14 8PM • OFFICIAL SELECTION 3 80 MIN OLDHAM THEATRE 16 06, SUN 2PM • SWEET DREAM + THE WIDOW 121 MIN OLDHAM THEATRE 24 5PM • OFFICIAL SELECTION 4 74 MIN OLDHAM THEATRE 18 09, WED 8PM • BOUND BY CHASTITY RULE 101 MIN OLDHAM THEATRE 26 11, FRI 8PM • MOTHER 129 MIN OLDHAM THEATRE 27 12, SAT 4PM • SO LONG, MY SON 185 MIN OLDHAM THEATRE 7 8PM • THE VILLAINESS 129 MIN OLDHAM THEATRE 28 13, SUN 2PM • POETRY 139 MIN OLDHAM THEATRE 29 5PM • SO LONG, MY SON 185 MIN OLDHAM THEATRE 7 16, WED 8PM • MADAME FREEDOM 125 MIN OLDHAM THEATRE 30 18, FRI 8PM • THE HOUSEMAID 101 MIN OLDHAM THEATRE 31 19, SAT 4PM • SO LONG, MY SON 185 MIN OLDHAM THEATRE 7 8PM • A GOOD LAWYER’S WIFE 105 MIN OLDHAM THEATRE 32 20, SUN 2PM • PAJU 110 MIN OLDHAM THEATRE 33 5PM • SO LONG, MY SON 185 MIN OLDHAM THEATRE 7 24 — 27 VARIOUS • PERSPECTIVES FILM FESTIVAL 2019 VARIOUS OLDHAM THEATRE 48 28, MON 4PM • SO LONG, MY SON 185 MIN OLDHAM THEATRE 7 30, WED 8PM • SUDDENLY IN DARK NIGHT 95 MIN OLDHAM THEATRE 34 4 October to November 5 Schedule * The October–November schedule and programme line-up is correct at the time of print.
    [Show full text]