Korean DVD Acquisitions List
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The Front Line Korean Movie English Subtitles Download Language
1 / 5 The Front Line Korean Movie English Subtitles Download Language With Ha-kyun Shin, Soo Go, Seung-su Ryu, Chang-Seok Ko. A drama centered on the Korean War's final battle that will determine the border ... Chang-Seok Ko in The Front Line (2011) The Front Line (2011) Ok-bin Kim in The Front Line ... South Korea's official submission to the Best Foreign Language Film category of the .... Tamil 720p Hd Movies Download Aashiqui 2.. Pthc Collection 2013. トーク ... the front line korean movie english subtitles download language.. Total 602 Korean Movies with Myanmar Subtitle. Enjoy the ... Keywords: subtitle, download, subs, subtitles, the orhanage english subtitles. 9GAG is ... Learn American English with English language lessons from Voice of America. ... In the life-or-death frontline he met four soldier comrades who later became his best friends.. TV Show subtitles. downloads, and DVD titles are shown in Russian with ... Watch free Russian Movies & TV Series online / English subtitles Russia has quite the ... from show Watch Korea shows with subtitles in over 100 different languages Get ... for FRONT NEW RUSSIAN 8 EPISODES WWII TV SERIES DVD ENGLISH .... Along with students' rising demand to learn about Korea, the number of Korea-related courses beyond language and history has also increased. I am a political .... Movie: The Front Line; Revised romanization: Gojijeon; Hangul: 고지전; Director: Jang ... Best Film-Movie of the Year; Distributor: Showbox; Language: Korean ... of the Korean War an uneasy ceasefire is ordered, but out on the Eastern front line ... Ko Soo and Shin Ha-Kyun are in love with each other and then Lee Je- Hoon ... -
Showboxatcannes 2011
SHOWBOX AT CANNES 2011 CONTACT IN CANNES LERINS R3-S2 T +33 (0)4 92 99 33 26 EXECUTIVE ATTENDEES Judy AHN Head of Int’l Business • Sales & Acquisitions M +33 (0)6 76 22 89 41 E [email protected] SooJin JUNG General Manager • Sales M +33 (0)6 88 02 04 61 E [email protected] Sonya KIM Manager • Sales & Festival M +33 (0)6 08 50 72 51 E [email protected] June LEE Manager • Acquisitions M +33 (0)6 72 64 91 26 E [email protected] Eugene KIM Int’l Marketing M +33 (0)6 74 61 63 95 E [email protected] HIGHLIGHTS THE YELLOW SEA Genre Action, Thriller Running Time 140 min (International Version) Release Date Dec 23, 2010 Directed by NA Hong-jin (THE CHASER) Starring HA Jung-woo (THE CHASER / TAKE OFF) KIM Yun-seok ( T H E C H A S E R / W O O C H I ) Co-presented by Showbox / Mediaplex Fox International Productions On the Chinese side of Chinese-Russian-North Korean border, there is a region where North Korea, China and Russia meet is known as Yanbian Korean Autonomous Prefecture. The film tells a story of a man from here, who embarks on an assassination mission to South Korea in order to pay off his mounting debt. He is only given some money in advance and takes on the job without knowing much about his target. However, he is endangered by a FESTIVAL / MARKET SCREENINGS series of conspiracy and betrayal, and eventually realizes that he is TO BE ANNOUNCED tricked into a vicious trap. -
Film Im Vergleich Der Kulturen
Barbara Colette Zitturi Film im Vergleich der Kulturen Masterarbeit zur Erlangung des akademischen Grades eines Master of Arts der Studienrichtung Soziologie an der Karl-Franzens-Universität Graz Begutachter/in: Dr. Stephan Moebius Institut: Soziologie Graz/04/2012 Ehrenwörtliche Erklärung Ich erkläre ehrenwörtlich, dass ich die vorliegende Arbeit selbständig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht benutzt und die den Quellen wörtlich oder inhaltlich ent- nommenen Stellen als solche kenntlich gemacht habe. Die Arbeit wurde bisher in gleicher oder ähnli- cher Form keiner anderen inländischen oder ausländischen Prüfungsbehörde vorgelegt und auch noch nicht veröffentlicht. Die vorliegende Fassung entspricht der eingereichten elektronischen Versi- on. Datum: Unterschrift: 2 Danksagung Some may think I did it on my own But that’s just not true, I would not have been able Without you by my side. Ich möchte mich bei allen bedanken, die mich beim Verfassen dieser Arbeit, auf unterschiedlichsten Ebenen unterstützt haben. Allen voran bedanke ich mich bei meinem fachlichen Betreuer Stephan Moebius, der mir während des Anfertigens der Arbeit zur Seite stand. Besonders bedanke ich mich bei meiner Familie und meinen Freunden, die meine Momente der Ver- zweiflung, aber auch meine kleinen Freuden miterleben mussten. Allen voran gilt mein Dank meiner Mama und Jo, die sowohl fachlich als auch freundschaftlich immer für mich da waren und mich wäh- rend aller Höhen und Tiefen unterstützt haben. Ich bedanke mich bei meinen Freunden in Europa und Asien, die sich für mich und meine Fragen Zeit genommen, mich auf Ideen gebracht und mir immer wieder weitergeholfen haben. Hier sind vor allem Kyung-jun und Jollok zu nennen, die mich auf die technischen Einzelheiten von Filmen aufmerksam gemacht und mich, wie viele andere, auf das Thema dieser Arbeit gebracht haben. -
Corporate Hierarchies, Genres of Management, and Shifting Control in South Korea’S Corporate World
Ranks & Files: Corporate Hierarchies, Genres of Management, and Shifting Control in South Korea’s Corporate World by Michael Morgan Prentice A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) in The University of Michigan 2017 Doctoral Committee: Associate Professor Matthew Hull, Chair Associate Professor Juhn Young Ahn Professor Gerald F. Davis Associate Professor Michael Paul Lempert Professor Barbra A. Meek Professor Erik A. Mueggler Michael Morgan Prentice [email protected] ORCID: 0000-0003-2981-7850 © Michael Morgan Prentice 2017 Acknowledgments A doctoral program is inexorably linked to the document – this one – that summarizes the education, research, and development of a student and their ideas over the course of many years. The single authorship of such documents is often an aftereffect only once a text is completed. Indeed, while I have written all the words on these pages and am responsible for them, the influences behind the words extend to many people and places over the course of many years whose myriad contributions must be mentioned. This dissertation project has been generously funded at various stages. Prefield work research and coursework were funded through summer and academic year FLAS Grants from the University of Michigan, a Korea Foundation pre-doctoral fellowship, and a SeAH-Haiam Arts & Sciences summer fellowship. Research in South Korea was aided by a Korea Foundation Language Grant, a Fulbright-IIE Research grant, a Wenner-Gren Dissertation Fieldwork Grant, and a Rackham Centennial Award. The dissertation writing stage was supported by the Rackham Humanities fellowship, a Social Sciences Research Council Korean Studies Dissertation Workshop, and the Core University Program for Korean Studies through the Ministry of Education of the Republic of Korea and Korean Studies Promotion Service of the Academy of Korean Studies (AKS-2016-OLU-2240001). -
Abl25thesispdf.Pdf (2.788Mb)
THE HOPE AND CRISIS OF PRAGMATIC TRANSITION: POLITICS, LAW, ANTHROPOLOGY AND SOUTH KOREA A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements of the Degree of Doctor of Philosophy by Amy Beth Levine May 2011 © 2011 Amy Beth Levine THE HOPE AND CRISIS OF PRAGMATIC TRANSITION: POLITICS, LAW, ANTHROPOLOGY AND SOUTH KOREA Amy Beth Levine, Ph.D. Cornell University 2011 This dissertation demonstrates how the urgent condition of crisis is routine for many non-governmental (NGO) and non-profit organization (NPO) workers, activists, lawyers, social movement analysts, social designers and ethnographers. The study makes a contribution to the increasing number of anthropological, legal, pedagogical, philosophical, political, and socio-legal studies concerned with pragmatism and hope by approaching crisis as ground, hope as figure, and pragmatism as transition or placeholder between them. In effect this work makes evident the agency of the past in the apprehension of the present, whose complexity is conceptualized as scale, in order to hopefully refigure ethnography’s future role as an anticipatory process rather than a pragmatic response to crisis or an always already emergent world. This dissertation is based on over two years of fieldwork inside NGOs, NPOs, and think tanks, hundreds of conversations, over a hundred interviews, and archival research in Seoul, South Korea. The transformation of the “386 generation” and Roh Moo Hyun’s presidency from 2003 to 2008 serve as both the contextual background and central figures of the study. This work replicates the historical, contemporary, and anticipated transitions of my informants by responding to the problem of agency inherent in crisis with a sense of scale and a rescaling of agency. -
Orientalism and the Fantasy of Brotherhood in South Korean Cinema’S North Korean Action Hero Films
Vol. 1 Journal of Korean and Asian Arts SPRING 2020 Orientalism and the Fantasy of Brotherhood in South Korean Cinema’s North Korean Action Hero Films Kelly Y. Jeong / University of California at Riverside 【Abstract】 In the past decade there have been several popular South Korean action genre films that focus on North Korean spies or government agents. In these films, the North Korean protagonist has superhuman physical strength and combat capacity, as well as a kind of purity of ideology and integrity, while his Southern counterpart is older, wiser, and with more human frailties. I call this category of action sub-genre films North Korean action hero films. In this essay I argue that such films reflect the cultural unconscious of South Korea’s Orientalist fantasy about North Korean masculinity (and society), which especially manifests in the films’ plot as an intense focus on the North Korean action hero’s perfect, strong body, combined with a nod towards the ultimate superiority of his Southern counterpart. Further, the paper shows the centrality of biopolitics in the films’ plot, as both regimes subject the protagonists to neoliberal practices in order to intervene and manage their bodies and futures. The two protagonists often bond, in fact, via their anti-neoliberal characteristics. The paper will then conclude by examining the current South Korean action genre cinema in light of its use of female characters and diegetic time. 【key words】 South Korean action genre cinema, North Korean action heroes, Orientalism, Neoliberalism, Biopilitics, Gender Introduction n the past decade South Korean cinema has produced several popular action I genre films that focus on North Korean spies or government agents. -
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 . -
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. -
The Best of Korean Cinema Returns to London
THE BEST OF KOREAN CINEMA RETURNS TO LONDON 제 9회 런던한국영화제 / OFFICIAL FESTIVAL BROCHURE / 6-21 NOVEMBER 2014 14�OZE�454 .pdf 1 10/10/14 1:53 PM An introduction by Tony Rayns You wouldn’t know it from the pro- It’s a sad fact that not many of these gramming of this year’s other film fes- films will go into distribution in Britain, tivals in London, but 2014 has been a not because they lack audience ap- terrific year for Korean cinema. Two peal but because the ever-rising cost home-grown blockbusters have domi- of bring films into distribution in this nated the domestic market (one of country makes it hard for distributors to them has been seen by nearly half the take chances on unknown quantities. entire population of South Korea!), Twenty years ago the BBC and Chan- C and there have also been outstanding nel 4 would have stepped in to help, M achievements in the art-film sector, the but foreign-language films get less and indie sector, the student sector – and less exposure on our television. Maybe Y in animation and documentary. And just the decline in the market for non-Hol- CM as you begin to salivate over all those lywood films will mark the start of new films you’re afraid you’ll never get to initiatives in on-demand streaming and MY see, along comes the London Korean downloading, but those innovations are CY Film Festival to save the day. still in their infancy. And so the London CMY I’ve said this before, but it bears Korean Film Festival has an absolutely repeating: London is extremely lucky crucial role in bringing new Korean K to have the largest and most ambitious movies to the people who want to see of all the Korean Film Festivals staged them. -
Defector’ As Socio-Lexical Labeling: a Corpus-Based Discourse Analysis of North Korean Defector Narratives in South Korea
‘Defector’ as Socio-Lexical Labeling: A corpus-based discourse analysis of North Korean defector narratives in South Korea Claire Yi SUBMITTED IN PARTIAL FULFILLMENT OF THE PREREQUISITE FOR HONORS IN PEACE AND JUSTICE STUDIES April 2015 WELLESLEY COLLEGE 1 Acknowledgements First of all, I thank Lewis Carroll for this quote that got me through the thesis process: “Begin at the beginning, and go on till you come to the end; then stop.” - King of Hearts from Alice in Wonderland But I know that neither the beginning nor the end, and not even the going-on between the two, would have been possible without all those who helped me through the way. I send my immense gratitude to Professor Sun-Hee Lee, one of my two thesis advisors and my guide to the beginning of this journey. Your advice and insights gave me the purpose and the plan not only for this thesis but also for my time at Wellesley and beyond. I send my deepest appreciation to Professor Catia Confortini, my major advisor, thesis advisor, and overall an amazing mentor. Your constant guidance and encouragement made it possible for me to come to the end without being tempted to stop before the end of the road. So many others have supported me on this path. I would like to thank Dr. Sandra Fahy, for her genuine interest in my thesis and brilliant ideas that significantly shaped its course. I would also like to thank Professor Seok Jang, without whose support and dedication the quantitative part of this thesis could not have been completed. -
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. -
At Asian Film Market 2014
AT ASIAN FILM MARKET 2014 CONTACT IN BUSAN STAND D-03 / BEXCO (HALL 4) EXECUTIVE ATTENDEES Judy AHN / Head of Int’l Business M +82 (0)10 4939 6947 E [email protected] Soojin JUNG / VP・Int’l Business M +82 (0)10 6342 4151 E [email protected] Eugene KIM / Assistant Manager・Int’l Business M +82 (0)10 6594 0610 E [email protected] Yukyoung LEE / Int’l Marketing・Int’l Business M +82 (0)10 9965 9884 E [email protected] To set up a meeting with us, please e-mail to [email protected] (+82(0)2 3218 5640) MARKET SCREENING OCT 5 (SUN) 15:30 LOTTE CINEMA CENTUM CITY 7 Professional go player Big Move loses his brother to infamous underground THE DIVINE MOVE gambler Killer after losing a high-stake game. He is framed for the murder of GENRE Action, Noir his own brother and is locked up in prison. After serving his 7-year sentence, RUNNING TIME 118 min he gets in touch with his brother’s former associate Cheater, hermit and RELEASE July 3, 2014 DIRECTED BY JO Bum-gu (QUICK / THREE FELLAS) blind master player Christ, and skillful junkyard owner Carpenter and STARRING JUNG Woo-sung (COLD EYES / THE GOOD, THE BAD, THE WEIRD) begins formulating a plan to get back at Killer and his men. Big Move slowly LEE Bum-soo (FORBIDDEN QUEST / THE CITY OF VIOLENCE) penetrates into Killer’s inner circle and his gambling joint, and eliminates AHN Sung-ki (BATTLE OF WITS / UNBOWED) Killer’s men one by one.