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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. -
A PARTNER for CHANGE the Asia Foundation in Korea 1954-2017 a PARTNER Characterizing 60 Years of Continuous Operations of Any Organization Is an Ambitious Task
SIX DECADES OF THE ASIA FOUNDATION IN KOREA SIX DECADES OF THE ASIA FOUNDATION A PARTNER FOR CHANGE A PARTNER The AsiA Foundation in Korea 1954-2017 A PARTNER Characterizing 60 years of continuous operations of any organization is an ambitious task. Attempting to do so in a nation that has witnessed fundamental and dynamic change is even more challenging. The Asia Foundation is unique among FOR foreign private organizations in Korea in that it has maintained a presence here for more than 60 years, and, throughout, has responded to the tumultuous and vibrant times by adapting to Korea’s own transformation. The achievement of this balance, CHANGE adapting to changing needs and assisting in the preservation of Korean identity while simultaneously responding to regional and global trends, has made The Asia Foundation’s work in SIX DECADES of Korea singular. The AsiA Foundation David Steinberg, Korea Representative 1963-68, 1994-98 in Korea www.asiafoundation.org 서적-표지.indd 1 17. 6. 8. 오전 10:42 서적152X225-2.indd 4 17. 6. 8. 오전 10:37 서적152X225-2.indd 1 17. 6. 8. 오전 10:37 서적152X225-2.indd 2 17. 6. 8. 오전 10:37 A PARTNER FOR CHANGE Six Decades of The Asia Foundation in Korea 1954–2017 Written by Cho Tong-jae Park Tae-jin Edward Reed Edited by Meredith Sumpter John Rieger © 2017 by The Asia Foundation All rights reserved. No part of this book may be reproduced without written permission by The Asia Foundation. 서적152X225-2.indd 1 17. 6. 8. 오전 10:37 서적152X225-2.indd 2 17. -
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. -
2018/2019 Season
Saturday, April 6, 2019 1:00 & 6:30 pm 2018/2019 SEASON Great Artists. Great Audiences. Hancher Performances. Kevin McKenzie Kara Medoff Barnett ARTISTIC DIRECTOR EXECUTIVE DIRECTOR Alexei Ratmansky ARTIST IN RESIDENCE STELLA ABRERA ISABELLA BOYLSTON MISTY COPELAND HERMAN CORNEJO SARAH LANE ALBAN LENDORF GILLIAN MURPHY HEE SEO CHRISTINE SHEVCHENKO DANIIL SIMKIN CORY STEARNS DEVON TEUSCHER JAMES WHITESIDE SKYLAR BRANDT ZHONG-JING FANG THOMAS FORSTER JOSEPH GORAK ALEXANDRE HAMMOUDI BLAINE HOVEN CATHERINE HURLIN LUCIANA PARIS CALVIN ROYAL III ARRON SCOTT CASSANDRA TRENARY KATHERINE WILLIAMS ROMAN ZHURBIN Alexei Agoudine Joo Won Ahn Mai Aihara Nastia Alexandrova Sierra Armstrong Alexandra Basmagy Hanna Bass Aran Bell Gemma Bond Lauren Bonfiglio Kathryn Boren Zimmi Coker Luigi Crispino Claire Davison Brittany DeGrofft* Scout Forsythe Patrick Frenette April Giangeruso Carlos Gonzalez Breanne Granlund Kiely Groenewegen Melanie Hamrick Sung Woo Han Courtlyn Hanson Emily Hayes Simon Hoke Connor Holloway Andrii Ishchuk Anabel Katsnelson Jonathan Klein Erica Lall Courtney Lavine Virginia Lensi Fangqi Li Carolyn Lippert Isadora Loyola Xuelan Lu Duncan Lyle Tyler Maloney Hannah Marshall Betsy McBride Cameron McCune João Menegussi Kaho Ogawa Garegin Pogossian Lauren Post Wanyue Qiao Luis Ribagorda Rachel Richardson Javier Rivet Jose Sebastian Gabe Stone Shayer Courtney Shealy Kento Sumitani Nathan Vendt Paulina Waski Marshall Whiteley Stephanie Williams Remy Young Jin Zhang APPRENTICES Jacob Clerico Jarod Curley Michael de la Nuez Léa Fleytoux Abbey Marrison Ingrid Thoms Clinton Luckett ASSISTANT ARTISTIC DIRECTOR Ormsby Wilkins MUSIC DIRECTOR Charles Barker David LaMarche PRINCIPAL CONDUCTOR CONDUCTOR PRINCIPAL BALLET MISTRESS Susan Jones BALLET MASTERS Irina Kolpakova Carlos Lopez Nancy Raffa Keith Roberts *2019 Jennifer Alexander Dancer ABT gratefully acknowledges: Avery and Andrew F. -
The Nutcracker
American Ballet Theatre Kevin McKenzie Rachel S. Moore Artistic Director Chief Executive Officer Alexei Ratmansky Artist in Residence HERMAN CORNEJO · MARCELO GOMES · DAVID HALLBERG PALOMA HERRERA · JULIE KENT · GILLIAN MURPHY · VERONIKA PART XIOMARA REYES · POLINA SEMIONOVA · HEE SEO · CORY STEARNS STELLA ABRERA · KRISTI BOONE · ISABELLA BOYLSTON · MISTY COPELAND ALEXANDRE HAMMOUDI · YURIKO KAJIYA · SARAH LANE · JARED MATTHEWS SIMONE MESSMER · SASCHA RADETSKY · CRAIG SALSTEIN · DANIIL SIMKIN · JAMES WHITESIDE Alexei Agoudine · Eun Young Ahn · Sterling Baca · Alexandra Basmagy · Gemma Bond · Kelley Boyd Julio Bragado-Young · Skylar Brandt · Puanani Brown · Marian Butler · Nicola Curry · Gray Davis Brittany DeGrofft · Grant DeLong · Roddy Doble · Kenneth Easter · Zhong-Jing Fang · Thomas Forster April Giangeruso · Joseph Gorak · Nicole Graniero · Melanie Hamrick · Blaine Hoven · Mikhail Ilyin Gabrielle Johnson · Jamie Kopit · Vitali Krauchenka · Courtney Lavine · Isadora Loyola · Duncan Lyle Daniel Mantei · Elina Miettinen · Patrick Ogle · Luciana Paris · Renata Pavam · Joseph Phillips · Lauren Post Kelley Potter · Luis Ribagorda · Calvin Royal III · Jessica Saund · Adrienne Schulte · Arron Scott Jose Sebastian · Gabe Stone Shayer · Christine Shevchenko · Sarah Smith* · Sean Stewart · Eric Tamm Devon Teuscher · Cassandra Trenary · Leann Underwood · Karen Uphoff · Luciana Voltolini Paulina Waski · Jennifer Whalen · Katherine Williams · Stephanie Williams · Roman Zhurbin Apprentices Claire Davison · Lindsay Karchin · Kaho Ogawa · Sem Sjouke · Bryn Watkins · Zhiyao Zhang Victor Barbee Associate Artistic Director Ormsby Wilkins Music Director Charles Barker David LaMarche Principal Conductor Conductor Ballet Masters Susan Jones · Irina Kolpakova · Clinton Luckett · Nancy Raffa * 2012 Jennifer Alexander Dancer ABT gratefully acknowledges Avery and Andrew Barth for their sponsorship of the corps de ballet in memory of Laima and Rudolph Barth and in recognition of former ABT corps dancer Carmen Barth. -
2019 YAGP KOREA Sunday, August 25, 2019
2019 YAGP KOREA Sunday, August 25, 2019 * 경연 시간은 현장 진행상황에 따라 변경될 수 있습니다. 프리 1 Open Stage 9:00-9:30 Competition 9:30-9:50 # 이름 Name Sex Title School 소속 605 신올리비아 Olivia Shinn F Blue Bird The ballet academy 더발레 아카데미 606 우수린 Su Rin Woo F I'm a Little Ballerina K-BALLET K발레(고은경발레학원) 607 전지원 Jiwon Chon F Flora IDT Tanz Academy IDT 탄츠 무용학원 608 배수현 Su-Hyeon Bae F Talisman Leewonju Ballet Academy 이원주발레아카데미 609 김초아 CHO A KIM F Coppelia Jung's Ballet Academy 정스 발레 아카데미 610 장유원 YU WON JANG F Harp Story Royalballetdance 인천로얄발레학원 611 윤하랑 HARANG YUN F Coppelia Pose ballet academy 포즈발레학원 612 김서영 Seo young KIM F Black Swan Royal ballet academy 로얄발레학원 613 이도은 DO EUN LEE F THE PHARAOH'S DAUGHTER Grand Ballet Academy 그랑발레학원 614 신올리비아 Olivia Shinn F Sky Lark The ballet academy 더발레 아카데미 615 우수린 Su Rin Woo F Cupid from Don Quixote K-BALLET K발레(고은경발레학원) 616 전지원 Jiwon Chon F The sleeping beauty Lilac Fairy IDT Tanz Academy IDT 탄츠 무용학원 617 이현수 Hyun Soo Lee M Marine Boy The ballet academy 더 발레 아카데미 618 배수현 Su-Hyeon Bae F A pleasant outing Leewonju Ballet Academy 이원주발레아카데미 프리 2 Open Stage 9:00-9:30 Competition 9:50-10:50 # 이름 Name Sex Title School 소속 508 신아라 ARA SHIN F Odalisque Variations The Ballet Academy 더발레아카데미 509 변재희 JaeHee Byun F Paquita Polonaise Sejong Miso Ballet Academy 세종미소발레학원 510 권도희 DO HEE KWON F Grand Pas Classique NEW Ballet Academy 뉴 발레아카데미 511 김채은 chae eun kim F Esmeralda Nonhyeon Bolshoi Dance Academy,Incheon 인천 논현 볼쇼이 무용학원 512 허승비 SEUNGBI HEO F Paquita Polonaise Namyangju Lausanne Ballet Academy 남양주 로잔발레아카데미 513 권서연 SEO YEON KWON F coppelia -
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. -
Throw Together a Night of Performances by International
Throw together a night of performances by international dancers, sprinkle in some teenage competition winners’ solos, and call it something cute: That would seem to be the recipe for Youth America Grand Prix’s “Stars of Today Meet the Stars of Tomorrow” gala, happening this Thursday and Friday at the Brooklyn Academy of Music. Except, the name of this annual program is eerily prescient. When you look back at the lists of YAGP medalists from the past 15 years, that “Stars of Tomorrow” moniker is spot-on. They read like something of a Who’s Who of ballet—including several top names who’ve been highlighted in Dance Magazine. Back in 2002, Sarah Lane nabbed the senior bronze medal with an unforgettable performance: After her music stopped 20 seconds into her Paquita variation, she finished the rest in silence. In the audience (which erupted into a spontaneous standing ovation) was American Ballet Theatre artistic director Kevin McKenzie. We ended up putting Lane onDance Magazine‘s cover in June 2007 just before he promoted her to soloist. Jim Nowakowski won the Youth Grand Prix in 2002 before joining Houston Ballet, then took a star turn on “So You Think You Can Dance.” We named him one of Dance Magazine‘s “25 to Watch” this year. That same year, Brooklyn Mack placed third in the classical dance category for senior men. Today, he’s a standout dancer at The Washington Ballet, and partnered Misty Copeland in her first U.S. performance of Swan Lake. Hee Seo took the Grand Prix in 2003. -
Korean Film Nights 2018
Korean Cultural Centre UK presents KOREAN FILM NIGHTS 2018 MARCH TO JUNE Korean Novels on Screen KOREAN FILM NIGHTS 2018 The Korean Cultural Centre UK would like to welcome audiences once again to Korean Film Nights, our year-round programme of film screenings and talks. With the aim of fostering a deeper knowledge and appreciation of Korean cinema amongst London audiences through thematically curated strands, these screenings have presented everything from little-known classics to UK premieres of rare indie gems over the past 10-years. After a successful 2017 that saw audiences pack into screenings across three distinct film seasons - horror, migration and essay films - 2018 continues in a similar vein, splitting the year into two strands. This first programme will run from the end of March to June and will focus on films adapted from Korean novels. This follows on from a 2014 programme that came about when the London Book Fair shone a spotlight on Korea as their featured country that year. Appreciation for Korean literature has continued to rise thanks to the success of Han Kang’s International Man Booker Prize winning The Vegetarian, and the release last year of Familiar Things, a new work from famed novelist and political activist, Hwang Sok-yong, amongst others. Returning to the topic of Korean literature and film, the Korean Novels on Screen season focuses on stories that cover the key historical events that have shaped modern Korea. Going back to the period of Japanese occupation and subsequent independence, through both the Korean and Vietnam Wars, and then onto the anti-authoritarian government and pro-democracy protests that have risen over the years, prominent writers have often focused their own perspectives and personal experiences onto the page. -
Domestic Hallyu: K-Pop Metatexts and the Media's Self-Reflexive Gesture
International Journal of Communication 11(2017), 2308–2331 1932–8036/20170005 Domestic Hallyu: K-Pop Metatexts and the Media’s Self-Reflexive Gesture MICHELLE CHO1 McGill University, Canada Television serves as a crucial medium for shaping the South Korean public’s response to the success of hallyu, or the Korean Wave, in news reports, variety shows, and celebrity interview programs. Further, in the last decade, several K-pop idols have been cast in serial narrative television shows that fictionalize hallyu creative industries. These metatextual shows domesticate transnational idol pop celebrities by contributing layers of televisual intimacy to their star personae and by seeming to expose the inner workings of the entertainment industries. This essay focuses on two notable examples, Dream High (2011, KBS2) and Answer Me 1997 (2012, tvN), to consider what this proliferation of popular narratives about media production and reception on South Korean television signifies. I argue that the intertextual presentation of K-pop on Korean television negotiates a complex relationship between popular culture and public culture in South Korea. The metatextual relay revealed in these shows—what I characterize as the media’s self-reflexive critical gesture—provides access to the ideological impasses of the attempt to produce intimate national publics through globalized contents. Keywords: metatextuality, television, K-drama, K-pop, hallyu, Korean Wave If the ideological function of mass culture is understood as a process whereby otherwise dangerous and protopolitical impulses are “managed” and defused, rechanneled and offered spurious objects, then some preliminary step must also be theorized in which these same impulses—the raw material upon which the process works—are initially awakened within the very text that seeks to still them. -
Latin Media Corp Catalog.Pdf
COREA SERIES Como Aman Los Hombre 2 Mi Destino 19 Bella Solitaria 3 No Me Olvides 20 Adonis, Flor de Invierno 4 Volvere Por Ti 21 Mascara de Cristal 5 El Secreto de mi Esposo 22 300 Años de Amor 6 Culpable Tu 23 Amor Musical 7 Mi Doble Vida 24 Capricho del Destino 8 Melodia del Destino 9 TURQUIA Mundos Opuestos 10 Esposa Joven 25 Mil Dias de Promesas 11 La Gran Revancha 26 Promesa de Amor 12 La Sombra de Cinar 27 Sindrome 13 Corazones Huerfanos 28 Volver Amar 14 Torn Between Two Worlds? 29 CHINA INDIA Amor Azul 15 Saras & Kumud 30 El Principe de la Pasta 16 Tumhari Pakhi 31 Chicas de O!cina 17 FILIPINAS Cautiva 18 Género: Romance Drama Comedia Escrito por: Kim Eun-sook Reparto: Jang Dong-gun Kin Ha-neul Kim Min-jong Lee Jong-hyuk País: Corea Del Sur Kim Do Jin es un hombre de - con!anza que conoce a Seo Yi Soo, y se enamora de ella. Para su sorpresa, ella no lo toma en cuenta y él descu- bre que ella está enamorada de su mejor amigo Im Tae San. Ante tal situación - comienza un amor unilateral por primera vez en su vida y con esfuerzo tratar de ganar su corazón. 2 Genero: Drama | Musica | Romance Shy y dulce Dok Mi pasa su vida evitando el contacto con la gente mientras ella espía al médico hunky que vive en el apartamento al Escrito por: Kim Eun-jung otro lado de la calle. Su existencia solitaria es interrumpida pronto Reparto: Park Shin-hye sin embargo por un muchacho saliente que acaba de moverse en Yoon Shi-yoon el vecindario. -
Copyright by Min Jung Son 2004
Copyright by Min Jung Son 2004 The Dissertation Committee for Min Jung Son certifies that this is the approved version of the following dissertation: The Politics of the Traditional Korean Popular Song Style T’ŭrot’ŭ Committee: Stephen Slawek, Supervisor Gerard Béhague Martha Menchaca Avron Boretz Elizabeth Crist The Politics of the Traditional Korean Popular Song Style T’ŭrot’ŭ by Min Jung Son, B.M., M.M., M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctoral of Philosophy The University of Texas at Austin May, 2004 Dedication To my husband Yn Bok Lee with gratitude and love Acknowledgements This dissertation would not have been possible without the extraordinary guidance of my dissertation committee. My deepest gratitude and sincere admiration must go to professor Stephen Slawek whose scholarship, insight, and advice have enhanced this project. I am indebted to professor Gerard Béhague for his invaluable advice and theoretical suggestions of the project. Special thanks are also due to professors Martha Menchaca, for her gracious, wise, and patient counsel; Avron Boretz, for his enthusiasm, expertise, and willingness to share his knowledge of East Asian popular culture; Elizabeth Crist, for her attention to detail and musicological abilities that continue to inspire my respect. I acknowledge the assistance and support of many informants of my fieldwork in 2002-2003: t’ŭrot’ŭ singers Kim Sŏn-Jung, Lawrence Cho, Han Song-Hŭi, Lee Su-Jin, Chŏng Hye-Ryŏn, T’ae Min, Ko Yŏng-Jun, and Sul Woon- Do; songwriters Park Nam-Ch’un, O Min-U, and Pan Wa-Yŏl; sound engineer Coi Dong-Kwon; producers Park Kŏ-Yŏl and Chŏng Chin-Yŏng; fans Kim Kwang-Jin and Kwon Yong-Ae.