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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. -
Hybrid Korean Screen Cultures in the Mid-2000S Films a Bold Family (2005), Over the Border (2006), and Welcome to Dongmakgol (2005)
Concentric: Literary and Cultural Studies 46.2 September 2020: 217-245 DOI: 10.6240/concentric.lit.202009_46(2).0010 The North on Southern Screens: Hybrid Korean Screen Cultures in the Mid-2000s Films A Bold Family (2005), Over the Border (2006), and Welcome to Dongmakgol (2005) Bonnie Tilland East Asia International College Yonsei University Mirae Campus, Korea Abstract South Korean films that address North Korean themes have changed in the decades since South Korea’s democratization. Whereas films in the 1990s presented North Koreans as villains, by the 2000s most films took a more nuanced approach, presenting North Koreans as complex people with the potential to adapt in South Korean society. This paper analyzes three films from the mid-2000s dealing with North Korean issues (A Bold Family [2005], Over the Border [2006], and Welcome to Dongmakgol [2005]) in the context of the South Korean political landscape and North-South relations at the time. The paper argues that mid-2000s films represent a transitional point in the filmic depiction of North Koreans in South Korean film, opening up possibilities of hybridity in Korean identity. These films exhibit an almost ethnographic impulse to document everyday life, and as such contribute broadly to a visual anthropology of North-South Korean relations. Keywords South Korea, North Korea, film, family, visual anthropology 218 Concentric 46.2 September 2020 A grandfather on his death-bed watches home videos of Korean reunification on TV, and heals unexpectedly at the prospect of visiting his northern hometown . A video camera captures moments of village merrymaking through song and dance as the Korean War rages all around . -
Cultural Hybridity in the Contemporary Korean Popular Culture Through the Practice of Genre Transformation
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-28-2018 2:30 PM Cultural Hybridity in the Contemporary Korean Popular Culture through the Practice of Genre Transformation Kyunghee Kim The University of Western Ontario Supervisor Blackmore, Tim The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Kyunghee Kim 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Kim, Kyunghee, "Cultural Hybridity in the Contemporary Korean Popular Culture through the Practice of Genre Transformation" (2018). Electronic Thesis and Dissertation Repository. 5472. https://ir.lib.uwo.ca/etd/5472 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract The focus of this dissertation is to show how the media of contemporary Korean popular culture, specifically films, are transformed into “hybrid cultural forms” through the practice of genre transformation. Since the early 21st century, South Korean popular culture has been increasingly spreading across the globe. Despite its growing attention and popularity, Korean pop culture has been criticized for its explicit copying of Western culture with no unique cultural identity. Others view the success of Korean media, both its creative mimicry and its critique of the West, as a new hybrid form that offers the opportunity for reassertion of local identity as well as challenging the global hegemony of the West. -
A Study of Korean Phonology and Morphology in a Derivational Approach
Ecology of PF: A Study of Korean Phonology and Morphology in a Derivational Approach Inkie Chung, Ph.D. University of Connecticut, 2007 This dissertation studies the component of PF, i.e., morphology, phonology and phonetics, in Korean in a consistently derivational approach. Using phonological arguments and an acoustic phonetic study, chapter 2 identifies the surface syllable structure. It also recognizes the two syllable structure constraints: the complex onset constraint and the branching nucleus constraint. Using this syllable structure and these constraints, chapter 3 provides a comprehensive analysis of hiatus in verbal morphology and related issues within Calabrese’s (1995, 2002a) Dynamic Phonology framework. A limited number of actual outcomes for similar hiatus configurations show that the constraint-induced repairs are not finite but limited, and subject to the general principle of economy. It is shown that economy chooses shorter derivations over longer ones, when more than one derivation is possible and yield the same final outcome. It also show's that the hiatus constraint is a non-surface, cyclic constraint, operating once per morphophonological cycle. Furthermore, it argues that certain phonological operations must be described with the traditional rule-like formalism. It is also pointed out that the syllable structure constraints identified in chapter 2 are surface constraints. Chapters 4 and 5 provide a morphological study in Distributed Morphology (Bobaljik 2000, Halle and Marantz 1993, Marantz 2006) With verbal and adjectival roots exhibiting negative and honorific suppletion, these chapters identify the morphological structure of the inflected predicates (and hence phrase structure to a certain extent) in Korean. It identifies the paradoxical situation arising from the interaction of negative Reproduced with permission of the copyright owner. -
3-24 November the Annual Festival of the Best of Korean Cinema Returns to London for 2011 an Introduction by the London Korean Film Festival Advisor Tony Rayns
The London Korean Film Festival 2011 제6회 런던한국영화제 3-24 November The annual festival of the best of Korean Cinema returns to London for 2011 An Introduction by the London Korean Film Festival Advisor Tony Rayns No film culture in East Asia is more accomplished or varied than South Korea’s, and this annual festival – now in its sixth year! – does Britain a fantastic service by bringing a wide range of new Korean cinema to screens in London and other cities. Most British viewers hadn’t seen a single Korean film as recently as ten years ago, and the frequently-asked-question is: where did all this phenomenal filmmaking come from? The short answer is that South Korea emerged from a long period of ‘darkness’ in 1993, and that the resulting freedoms fuelled a surge in creativity. The longer answer is that the world has rarely seen a more radical overnight transformation of a film industry. Regulation and censorship were swept away, new film festivals and distributors brought a torrent of international films to Korea for the first time, and a new generation of producers, directors, writers and actors seized the chance to make ambitious and exciting films. In the last two decades, South Korea has developed a rich film culture. It encompasses mainstream entertainments, masterly arthouse films, animation, documentary, indie films of all shapes and sizes and even a surge in experimental filmmaking. Backing it all up are new film schools and film studies courses and prolific publications of film magazines and books. The London Korean Film Festival has a very simple aim: to bring a taste of all this to British audiences. -
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The Wailing a Film by Na Hong-Jin
THE WAILING A FILM BY NA HONG-JIN Opens in UK Cinemas 25 November Written and directed by Na Hong-jin Starring Hwang Jung-min, Chun Woo-hee, Kwak Do-won and Kunimura Jun Running time: 156mins Press Contact: Sadari Cunninham – [email protected] Mark Jones – [email protected] [LFF queries] “A powerful blend of detective story, occult horror and Stephen King-esque small-town suspicion, this is superb” ★★★★ SciFiNow ★★★★ Empire “You absolutely must add THE WAILING to your must-see list this year.” Den of Geek “This could well be regarded as one of the best lms to emerge from Korea in recent years.” Screen Daily “A bone-chilling, thunderous descent into Hell” TwitchFilm “A gripping whodunnit” Variety “Deliciously entertaining” The Playlist “Exhilarating bleakness” Slant Magazine “A darkly unsettling story about evil is masterfully told” The Hollywood Reporter “After finishing THE YELLOW SEA [in 2010], all I did was prepare this film. I should have recognised my limits, but with this project I had encountered something truly fierce. I really wanted to make it.” - Director Na Hong-jin In this unbelievably tense supernatural thriller, a foreigner’s mysterious appearance in a quiet, rural village causes suspicion among the locals - suspicion which quickly turns to hysteria as the townspeople begin killing each other in brutal outbursts for seemingly no reason. As the investigating officer watches his daughter fall under the same savage spell, he agrees to consult a shaman for answers - unknowingly escalating the situation into something far more dangerous. -
Presbyterian Theological Seminary in America Catalog)
Presbyterian Theological Seminary in America CATALOG 2017-2018 15605 Carmenita Rd. Santa Fe Springs, CA 90670 Tel 562.926.1023 | Fax 562.926.1025 www.ptsa.edu Catalog Policies Rules governing student conduct, admissions policies, graduation requirements, and other aspects of this institution’s operations are subject to change. Please check with the administration if you have questions regarding the content of this catalog. This institution reserves the right to adopt, amend, or repeal rules and policies that apply to students. Changes in the content of this catalog will be posted on bulletin boards and shown as a supplement to this catalog. This catalog does not constitute a contract or enrollment agreement, nor does it constitute a statement of the conditions of a contract between the student and this institution. The relationship of the individual student to this institution is governed by applicable state education codes, state regulations, and college policies. Please refer to your enrollment agreement or enrollment contract for the specific terms under which you are to enroll. Changes to this catalog (which may from time to time be required by the Bureau for Private Postsecondary Education of the State of California) will be initially added by means of an addendum and will appear at the end of the catalog. This catalog is supposed to be examined annually and if necessary, it should be revised and updated then. This catalog shall be provided to prospective students or to the general public when requested, either in writing or electronically at our web site www.ptsa.edu. Nondiscrimination Policy This institution is committed to providing equal opportunities to all applicants to programs and to all applicants for employment. -
Showbox (086980 KQ) Tentpole Strategy Bearing Fruit; Overseas Business Taking Shape
Showbox (086980 KQ) Tentpole strategy bearing fruit; Overseas business taking shape Media US co-production deal and strong Chuseok performance of The Throne US co-production deal: Showbox announced that it has signed a co-production Company Update partnership with the American production company Blumhouse Productions and financing firm Ivanhoe Pictures. Blumhouse is the studio behind the film Whiplash October 1, 2015 (which was distributed in Korea by Showbox this year) and is well known for making low- budget box-office hits. Under the deal, Showbox will team with Blumhouse to produce at least six Korean language films in the thriller and horror genre over the next five (Upgrade) Buy years, with the projects fully financed by Ivanhoe. Showbox will be in charge of the domestic distribution of the movies, which could be remade in English by Blumhouse. Target Price (12M, W) 11,000 Chuseok box-office performance: During this year’s Chuseok holiday, the clear box-office winner was Showbox. The Throne , which was released by the company , sold 2.19mn Share Price (09/30/15, W) 8,480 tickets during the four-day long holiday, bringing the cumulative tally to 4.79mn. We believe the company has broken even on the film, closing the third quarter on a high note. Expected Return 30% Upbeat on 3Q; Tentpole and overseas operations are long-term positives Upbeat on 3Q earnings: We estimate Showbox movies sold 18.2mn tickets in 3Q thanks OP (15F, Wbn) 11 to the box-office hits Assassination and The Throne . The quarterly figure is 47% higher Consensus OP (15F, Wbn) 6 than the previous record set in 3Q12 (12.39mn), when the hugely successful film The Thieves was released. -
Yi Tong-Wŏn, Taetongnyŏng Ŭl Kŭrimyŏ [Longing for the President
POSTCOLONIAL ASPIRATION AND CONTESTATION: POLITICS AND POETICS OF NATIONALIST DISCOURSES IN TWO NATIONAL MUSEUMS OF SOUTH KOREA by Kyung Hyo Chun B.A., Seoul National University, 1998 M.A., George Washington University, 2002 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Anthropology) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2012 © Kyung Hyo Chun, 2012 Abstract After colonial liberation from Japan in 1945, Koreans have been eager to establish their sovereignty and to elevate national pride through nationalism. In South Korea, the nationalist discourse is ubiquitous, and generated top-down directly from the government as well as bottom-up in both traditional media and new social media. Emphasizing the unity, longevity, and distinctiveness of the Korean people by promoting nationalism based on the idea of ethnic homogeneity was a way of both redressing a traumatic colonial past and integrating modern social theories. While the nationalist discourse in South Korea constantly reinforces the uniqueness of Korean people and the worthiness of its splendid culture asserted to be of “five thousand years,” South Korean nationalism is far from being self-sufficient. One of the most significant motivational forces for nationalist consciousness in South Korea is not self-determination but its postcoloniality. South Korea’s anticolonial self definition is a direct reaction to Japanese colonialism (1910-1945), and the aggressive pervasiveness of nationalism in contemporary South Korean society is the prescribed way of rejecting and erasing a past both undesirable and regrettable. This prescribed ethnic nationalism is extremely problematic in both its ahistoricity and increasingly conspicuous irrelevancy in the face of an increasingly multiculturalizing contemporary South Korean population. -
421 a Study on Trapping Co2 Using Molecular Sieve For
14 A STUDY ON TRAPPING CO2 USING MOLECULAR SIEVE FOR C AMS SAMPLE PREPARATION Kyumin Choe1,2 • Sujin Song1 • Jang Hoon Lee1 • Young Mi Song1 • Jin Kang1 • Myoung-ho Yun1 • Jong Chan Kim3 ABSTRACT. At the Seoul National University accelerator mass spectrometry (AMS) laboratory, we are planning to develop an automated sample preparation system for higher throughput of radiocarbon dating. This system will consist of several sec- tions, including a combustion line, CO2 trap, graphitization system, and so on. We usually collect CO2 by cryogenic trapping. However, since handling liquid nitrogen is expected to be rather difficult, we are interested in replacing the cryogenic method with the molecular sieve method for the collection of CO2. In this study, we compare the performance of the cryogenic trap- ping method and molecular sieve method. Zeolite 13X is used as a molecular sieve, and as test samples we use the oxalic acid standard (NIST SRM 4990C), high-purity graphite powder, and archaeological charcoals. The pMC values and the radiocar- bon ages (BP) obtained from samples prepared by the above 2 methods are very similar. We especially focused on the memory effect of the molecular sieve, meaning the CO2 contamination from a previous sample, which can cause errors in age deter- mination. To reduce this effect, we flowed He gas through a zeolite container for several minutes at a high temperature before the CO2 was introduced. By the adding this step, we have obtained more reliable results. INTRODUCTION There is increased demand for radiocarbon dating in Korea, thus an efficient and fast way to treat 14C samples is necessary. -
Korea Special 2012
www.screenDaily.com Korea special Focus 2012 MARCHÉ DU FILM 2012 RIVIERA B17-C18 CJENTERTAINMENT SCREENING P R O M O R E E L S TODAY MAY 19 SAT 19:30 STAR 4 / MAY 22 TUE 14:00 LERINS 2 THE TOWER SOAR INTO THE SUN MASSIVE DISASTER BLOCKBUSTER FILM AVIATION BLOCKBUSTER WITH FULL EXPLOSION AND DRAMA STARRING RAIN FROM NINJA ASSASSIN PERFECT NUMBER DERANGED BASED ON THE NAOKI PRIZE AWARDED NOVEL NATIONWIDE EPIDEMIC OUTBREAKS THE DEVOTION OF SUSPECT X BY KEIGO HIGASHINO BY A MUTANT PARASITE Mid-sized productions such as Showbox’s Detective K: Secret Of Virtuous Widow (above) and CJ E&M’s Punch (below) have proved big hitters at the Korean box offi ce Korea packs a punch Strong stories and word of mouth rather than big stars and special effects are the driving forces at the Korean box office. Liz Shackleton looks at the state of the local industry as new players enter the fray and eyes are turning towards China he old film business adage that ‘nobody box’s war drama The Front Line, also performed In addition, Daisy Entertainment, best known as knows anything’ when it comes to predicting The steady flow below expectations, though Sector 7 had a healthy a buyer that releases through its distribution arm Thits has been especially true for the Korean run in China and The Front Line — like My Way — Cinergy, is also stepping up production activity, co- fi lm industry over the past year, during which big- of mid-range sold well overseas. financing domestic titles such as omnibus film budget fi lms with high expectations have fl opped successes The emergence of new players is also shaking up Horror Stories and revenge thriller Don’t Cry and smaller fi lms without stars have cleaned up at pushed the the market.