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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. -
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. -
Cultural Production in Transnational Culture: an Analysis of Cultural Creators in the Korean Wave
International Journal of Communication 15(2021), 1810–1835 1932–8036/20210005 Cultural Production in Transnational Culture: An Analysis of Cultural Creators in the Korean Wave DAL YONG JIN1 Simon Fraser University, Canada By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization. Keywords: cultural production, Hallyu, cultural creators, transnational culture Since the early 2010s, the Korean Wave (Hallyu in Korean) has become globally popular, and media scholars (Han, 2017; T. J. Yoon & Kang, 2017) have paid attention to the recent growth of Hallyu in many parts of the world. Although the influence of Western culture has continued in the Korean cultural market as well as elsewhere, local cultural industries have expanded the exportation of their popular culture to several regions in both the Global South and the Global North. Social media have especially played a major role in disseminating Korean culture (Huang, 2017; Jin & Yoon, 2016), and Korean popular culture is arguably reaching almost every corner of the world. -
The Agent-CP
THE AGENT Réalisé par RYOO Seung-wan (The Berlin File) Avec HA Jung -woo, HAN Suk-kyu, RYOO Seung-bum, GIANNA JUN Berlin, de nos jours. Impliqué dans un vaste trafic d’armes pour le c ompte de la Corée du Nord, un " agent fantôme" se retrouve pris en chasse par les services secrets internationaux ; mettant en péril sa mission et son pays. Face à cet échec, il est soupçonné par son propre camp d’être un agent -double. Pour le faire parler, ils kidnappent sa femme, ne lui laissant que peu de choix : il devra trahir les siens ou sa patrie… POUR SAUVER LES SIENS, IL DEVRA TRAHIR SON PAYS Dans la lignée des Jason Bourne et Taken , THE AGENT est un nouveau poids lourds du genre ! Spectaculaire et haletant, ce thriller sur -vitaminé conjugue avec talent scènes de combats impressionnantes, intrigue brillante et mise en scène ultra soignée. Après City of Violence, le réalisateur RYOO Seung-wan impose THE AGENT comme un film incontournable , repoussant les limites du film d’espionnage, où action et suspense s’alternent à un rythme effréné. Le 4 D écembre 2013 en DVD, Blu-ray & VOD Matériel promotionnel disponible sur demande - Images et visuels disponibles dans l’Espace Pro via www.wildside.fr COMPLÉMENTS (communs aux 2 éditions) - Making -of - Préparation des scènes d’action - Entretien avec l’équipe du film - Repérage dans Berlin - Scènes coupées - Bande -annonce + la Copie Numérique du film à télécharger CARACTÉRISTIQUES TECHNIQUES DVD CARACTÉRISTIQUES TECHNIQUES Blu -ray Format image : 1.85, 16/9 ème comp. 4/3 Format image : 1.85 - Résolution -
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. -
Three Talks on Minjung Theology
THREE TALKS ON MINJUNG THEOLOGY HYUN Younghak The three talks on Minjung Theology that follow below were submitted to INTER-RELIGIO for publication by Paul Sye, former Director of the Institute for the Study of Religion and Theology in Seoul (see NEWS AND COMMUNICATIONS), and are reproduced here with the author’s permission. They were originally delivered on April 13, April 20, and November 4, 1982, at the James Memorial Chapel of the Union Theological Seminary in New York. After several frustrating attempts to edit the pieces independently of consultation with the author, it was decided to print them here just as they appeared in the original text. We think you will agree that the unpolished edge of Dr. Hyun’s language reflects the sense of immediacy as well as the sense of distance that minjung theologians feel in attempting to reach a western audience. Although the context is clearly Christian and missionary, the problems it raises suggest an altogether different base for interreligious dialogue with the Korean minjung than the ones traditionally generated from within academic circles. Lecture 1: MINJUNG: THE SUFFERING SERVANT AND HOPE PROLOGUE As I was preparing the lectures to be delivered at Union Theological Seminary as a Henry W. Luce Visiting Professor of World Christianity, and now as I stand in my Sunday best in from of you to deliver one of the lectures, I am overwhelmed by a feeling of myself being ridiculous and also looking ridiculous. There are three reasons for this: 1. The chair of this particular professorship appears so big and high that I have a feeling that my feet are dangling over the seat. -
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. -
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. -
Taxi! Why Hailing a New Idea About Public Accommodation Laws May Be Easier Than Hailing a Taxi
Valparaiso University Law Review Volume 37 Number 3 Summer 2003 pp.929-981 Summer 2003 Taxi! Why Hailing a New Idea About Public Accommodation Laws May Be Easier than Hailing a Taxi Danita L. Davis Follow this and additional works at: https://scholar.valpo.edu/vulr Recommended Citation Danita L. Davis, Taxi! Why Hailing a New Idea About Public Accommodation Laws May Be Easier than Hailing a Taxi, 37 Val. U. L. Rev. 929 (2003). Available at: https://scholar.valpo.edu/vulr/vol37/iss3/5 This Notes is brought to you for free and open access by the Valparaiso University Law School at ValpoScholar. It has been accepted for inclusion in Valparaiso University Law Review by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Davis: Taxi! Why Hailing a New Idea About Public Accommodation Laws May TAXI! WHY HAILING A NEW IDEA ABOUT PUBLIC ACCOMMODATION LAWS MAY BE EASIER THAN HAILING A TAXI I. INTRODUCTION "TAXI!" In recent years, many of the Nation's largest cities have reported instances of race discrimination by taxicab drivers.' After the widely publicized complaint made by popular actor Danny Glover that he was unable to hail a cab while visiting his daughter in Harlem, Former New York City Mayor, Rudy Giuliani, ordered undercover police officers to "put the sting on" taxi drivers who discriminate against black Americans trying to hail cabs. 2 Five cabs passed the black actor while he waited curbside for service.3 Chicago has also experienced a plethora of difficulty with its own cab fleet, including refusals to serve neighborhoods mostly occupied by minority residents and refusing black American fares altogether. -
THE RELATIONSHIP of a PASTOR and a CONGREGATION NAVIGATING CHANGE Theresa Cho
Fuller Theological Seminary Digital Commons @ Fuller Doctor of Ministry Projects School of Theology Spring 2-5-2019 THE EPISTLE OF ST. THERESA: THE RELATIONSHIP OF A PASTOR AND A CONGREGATION NAVIGATING CHANGE Theresa Cho Follow this and additional works at: https://digitalcommons.fuller.edu/dmin Part of the Leadership Studies Commons, and the Practical Theology Commons Ministry Focus Paper Approval Sheet This ministry focus paper entitled THE EPISTLE OF ST. THERESA: THE RELATIONSHIP OF A PASTOR AND A CONGREGATION NAVIGATING CHANGE Written by THERESA CHO and submitted in partial fulfillment of the requirements for the degree of Doctor of Ministry has been accepted by the Faculty of Fuller Theological Seminary upon the recommendation of the undersigned readers: Tod Bolsinger _____________________________________ Kurt Fredrickson Date Received: February 5, 2019 THE EPISTLE OF ST. THERESA: THE RELATIONSHIP OF A PASTOR AND A CONGREGATION NAVIGATING CHANGE A MINISTRY FOCUS PAPER SUBMITTED TO THE FACULTY OF THE SCHOOL OF THEOLOGY FULLER THEOLOGICAL SEMINARY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF MINISTRY BY THERESA CHO JANUARY 2019 ABSTRACT The Epistle of St. Theresa: The Relationship of a Pastor and a Congregation Navigating Change Theresa Cho Doctor of Ministry School of Theology, Fuller Theological Seminary 2019 The purpose of this doctoral project is to develop a framework of how St. John’s Presbyterian Church in San Francisco moves from a mono-cultural community to an intercultural and intergenerational community by examining the adaptive changes of leadership and ministry already navigated in an ever-changing culture. The first section explores how personal and congregational identity interacts within the pastoral and ministry context. -
Revenge and the Rule of Law in Nineteenth-Century American Literature
UNIVERSITY OF CALIFORNIA, SAN DIEGO Exceptional Vengeance: Revenge and the Rule of Law in Nineteenth-Century American Literature A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Lisa M. Thomas Committee in charge: Professor Nicole Tonkovich, Chair Professor John Blanco Professor Michael Davidson Professor Rachel Klein Professor Shelley Streeby 2012 Copyright Lisa M. Thomas, 2012 All rights reserved. The Dissertation of Lisa M. Thomas is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2012 iii DEDICATION To my family, friends, and committee for their endless encouragement, support, and patience. Whatever happens next, thanks for coming along (and putting up) with me. iv TABLE OF CONTENTS Signature Page…………………………………………………………………........ iii Dedication…………………………………………………………………………. iv Table of Contents………………………………………………………………….. v Acknowledgments ………………………………………………………………… vi Vita ………………………………………………………………………………… vii Abstract ……………………………………………………………………………. viii Introduction: Revenge, Justice, and Exceptionalist Rhetoric in the Nineteenth-Century United States………………………………………….. 1 Chapter 1: Reluctant Warriors: Community and Conflict in William Gilmore Simms’s The Yemassee ……………………………………………………… 51 Chapter 2: Unlikely Killers: Justifying Violence against Native Americans through Hannah Duston’s Captivity and Nick of the Woods ……………….. 125 Chapter 3: Revenge and Regret on the Texas -
Nosferatu. Revista De Cine (Donostia Kultura)
Nosferatu. Revista de cine (Donostia Kultura) Título: La ciudad es para mí: Las crónicas urbanas de Ryoo Seung-wan Autor/es: Sala, Angel Citar como: Sala, A. (2007). La ciudad es para mí: Las crónicas urbanas de Ryoo Seung- wan. Nosferatu. Revista de cine. (55):192-200. Documento descargado de: http://hdl.handle.net/10251/41530 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: La ciudad es para mí Las crónicas urbanas de Ryoo Seung-wan / Angel Sala 1\mroko :su¡x'IJJHxlukzioak /wm'rt/d('(lll'/1 lxuman f'la kan¡xKJII :senc/olzt'IIJfKI/1 chim ÚÜOJkWJ, t'/(1rJulrlll ' !xJt:w•k nazJÍKu'lcko kritika ela 1111111du o:soko m1 hou,;e z.afmk emkmn' dilu::ten ÚJÍar/tY/11. :.Úwllutgilt'lxJtzuk honÍ'II ortmn /{! '()() Seung-tmn, úwrenlwraldean p}'mlu dún.nalxmnentzm uula i::.(/11 ofti den en'IIIII0/1 . Dena dm. Die llar/ (:!000) wzmdu zuenetik, tJ¡riller gmmKm'l/ hidmk ::.dtwkatzm dttuen ent'lmlu tlun ela t mlkt~rtÚi 'ltk, orrui1 arte, R,1 wk agmán ut ú lhilui'i llllx.fmuKt endmfalz~·ku (Ú(('/1 gwiasuna.lx'n' ubm guztia zd/(/Zft'/1 dut'll em:frm¡tz/azko p,tti IIOt!pstú.