“2 Hermanas” Una Película De Kim Jee-Woon

Total Page：16

File Type：pdf, Size：1020Kb

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 historia 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. lace les dejará helados. A Rosa la maltrataba metiéndola debajo de la cama cuando quería castigarla. Finalmente la niña acabó sus FICHA ARTÍSTICA días ahogada en un lago. Su hermana Loto tras conocer Título original: “Janghwa, Hongryun, A tale of two sisters” la muerte de su hermana se suicidó rota de dolor. Esas Dirección: Kim Jee-Woon flores al igual que las dos hermanas se convirtieron en fantasmas y aterrorizaron a los lugareños. Cuenta Intérpretes: Yeom Jeong-a Eun-Joo, Im Soo-jung, la leyenda que un héroe guerrero de nombre Chong Moon Geun-young, Kim Kab-su Guión: Kim Jee-woon Tong-u pidió la ayuda sobrenatural de las dos hermanas Duración:1 hora 55 minutos. para ganar una gran batalla. La madre finalmente fue Corea del Sur, 2003 www.karmafilms.es 24.

Copy Link

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]
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]
Im Kwon-Taek)
K T O E R N E A Y N E A F R I 1 S L M T E N N I G D H I T R S E C 2 T 0 O 1 R 5 Korean Cultural Centre UK S Attending Korean Film Nights All events are free but booking is required One of the longest running initiatives at the Korean Cultural Centre UK, for each screening. To reserve your place, our Korean Film Nights has successfully concluded the three-year project: please visit www.kccuk.org.uk. Click on the The Year of 12 Directors (2012), The Year of 4 Actors (2013), The Year of Film Nights section and select the booking the Film Professionals (2014). Through this, we have showcased a wide icon on the film you wish to see. spectrum of films from Korea and introduced audiences to a number of For the special screenings taking place outside key figures from the world of Korean Cinema. the KCCUK, please visit our website, Twitter or Facebook pages for more information. In 2015, in the build up to the 10th anniversary of the London Korean Film * the programme and venue may be subject to Festival, Korean Film Nights has been programmed to celebrate early, less change, please confirm at the time of booking. known works by 10 prominent directors from Korea who were not part of the 2012 programme (with the exception of director Im Kwon-taek). Each month we will present two of the early films by each director – some of which have never been shown in the UK.
[Show full text]