Fists of Legend
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
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. -
La Saga the General's Son De Im Kwon-Taek
Las nuevas narrativas, en el entorno social Universidad de La Laguna, diciembre de 2019 La mafia en el cine coreano pre hallyu: la saga The General’s Son de Im Kwon-taek (1990-1993) The mafia in the pre-Hallyu Korean cinema: The Im Kwon-taek’s ‘The General’s Son’ film series Luis Miguel Machín Martín – Universidad de La Laguna– luismachinm[arroba]Gmail.com Resumen: La explosión del cine coreano a finales de los años 90 del siglo XX se produjo bajo el amparo del fenómeno conocido como ola coreana o Hallyu, fenómeno en el que la cultura y el arte coreanos han alcanzado gran difusión e importancia a nivel nacional y global. Dentro del cine coreano contemporáneo desarrollado a partir del Hallyu uno de los géneros más importantes ha sido el criminal, con películas como Memories of Murder (Bong Joon-ho, 2003) o A Bittersweet Life (Kim Jee-woon, 2005), entre muchas otras, alcanzando un gran éxito de público y crítica tratando temas relacionados con asesinatos y con la mafia. No obstante, antes de que estos temas se popularizaran en el cine de la ola coreana, ya existían precedentes en el cine nacional que anticipaban la diseminación del género en el cine coreano contemporáneo. Uno de esos precedentes más próximos temporalmente es la saga The General’s Son (Janggunui adeul), también conocida como Son of a General, del director Im Kwon-taek, compuesta por tres películas realizadas en 1990, 1991 y 1992, y que narran la incorporación y ascenso de un joven vagabundo en una organización criminal en el contexto de la Corea ocupada por Japón antes de la Segunda Guerra Mundial. -
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. -
A Film by BONG Joon-Ho
Mongrel Media Presents MOTHER A film by BONG Joon-Ho (SOUTH KOREA, 2009, 128 min.) 2009 Film Independent Spirit Awards (Nominee – Best Foreign Film) Official Selection: 2010 Palm Springs International Film Festival 2009 Cannes Film Festival 2009 Toronto Film Festival 2009 Tribeca Film Festival 2009 New York Film Festival 2009 AFI FEST Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS Mother is a devoted single parent to her simple-minded twenty-seven-year-old son, Do- joon. Often a source of anxiety to his mother, Do-joon behaves in foolish or simply dangerous ways. One night, while walking home drunk, he encounters a school girl who he follows for a while before she disappears into a dark alley. The next morning, she is found dead in an abandoned building and Do-joon is accused of her murder. An inefficient lawyer and an apathetic police force result in a speedy conviction. His mother refuses to believe her beloved son is guilty and immediately undertakes her own investigation to find the girl’s killer. In her obsessive quest to clear her son’s name, Mother steps into a world of unimaginable chaos and shocking revelations. 2 DIRECTOR’S COMMENT – BONG JOON-HO Everyone has a mother, and everyone has a precise idea of what a mother is. -
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. -
Screening the Past: Historiography of Contemporary South Korean Cinema, 1998-2008 Young Eun Chae a Dissertation Submitted To
Screening the Past: Historiography of Contemporary South Korean Cinema, 1998-2008 Young Eun Chae A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the degree of Doctor of Philosophy in the Department of Communication Studies. Chapel Hill 2011 Approved by: Dr. Joanne Hershfield Dr. Ken Hillis Dr. Lawrence Grossberg Dr. Mark Driscoll Dr. Guo-Juin Hong ©2011 Young Eun Chae ALL RIGHTS RESERVED ii ABSTRACT Screening the Past: Historiography of Contemporary South Korean Cinema, 1998-2008 (Under the direction of Joanne Hershfield) This dissertation examines cinematic representations of history on contemporary South Korean screen and the practices of film historiography in South Korea during a decade of democratic regimes are the subjects of this study. Between 1998 and 2008, during two liberal presidencies, the Korean film industry flourished and some of the most critical and traumatic events in the past were re-visited and re-visioned in popular films. 2009 Lost Memories and Hanbando employ alternative re-writings of the past, present, and future to portray the experiences of Japanese colonial occupations. The Korean War is re-examined in a more ambiguous and critical light in Taegukgi: The Brotherhood of War and Welcome to Dongmakgol, while Peppermint Candy and Splendid Vacation strive for capturing people‘s history, not an officially imposed version of History, in telling of the Gwangju Democratization Movement. As complex social constructions, the films analyzed in this dissertation reveal that South Koreans are finally able to ruminate on their past in a less simplistic and more complex manner without censorship. -
La Mafia En El Cine Criminal Coreano Contemporáneo: Características E Influencias
Actas – V Congreso Internacional Latina de Comunicación Social – V CILCS – Universidad de La Laguna, diciembre 2013 La mafia en el cine criminal coreano contemporáneo: características e influencias Luis Miguel Machín Martín – Universidad de La Laguna Resumen: En el contexto de la nueva ola de cine surcoreano que se inicia a finales de los años 90 del siglo pasado, creció un género por encima de los demás en el país coreano: el género criminal. Apoyándose en una nueva generación de cineastas (como Park Chan-wook o Bong Joon-ho) el cine criminal coreano ha llamado la atención del mundo cinematográfico. Este estudio se enmarca dentro de otro estudio más amplio titulado Cine criminal coreano en el S.XXI: características e influencias . El objetivo del estudio era identificar rasgos comunes en los diferentes filmes de la filmografía seleccionada (que abarca un número superior al de 100 películas) así como detectar influencias de obras y movimientos cinematográficos internacionales en el cine criminal coreano. Palabras clave: cine; criminal; mafia; Corea. 1. Consideraciones previas Cuando se haga referencia al «cine coreano», siempre será el cine de la República de Corea (Corea del Sur) el mencionado, excepto cuando se precise lo contrario. Los nombres coreanos romanizados se escriben, normalmente, con el apellido delante del nombre compuesto, así, por ejemplo, en el nombre Song Kang-ho, el apellido corresponde a Song, y el nombre compuesto corresponde a Kang- ho. La romanización de los nombres y títulos coreanos puede seguir varias fórmulas, lo que, en ocasiones, determina que haya variaciones entre ISBN-13: 978-84-15698-29-6 / D.L.: TF-715-2013 Página 1 Actas on-line: http://www.revistalatinacs.org/13SLCS/2013_actas.html Actas – V Congreso Internacional Latina de Comunicación Social – V CILCS – Universidad de La Laguna, diciembre 2013 diferentes textos. -
New Korean Cinema: Mourning to Regeneration
NEW KOREAN CINEMA: MOURNING TO REGENERATION by Seung-hwan Shin B. A. in English Literature, Yonsei University, Seoul, 1999 M. A. in Comparative Literature, Yonsei University, Seoul, 2003 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in English/Film Studies University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Seung-hwan Shin It was defended on March 3, 2014 and approved by Colin MacCabe, Distinguished Professor, English/Film Studies Adam Lowenstein, Associate Professor, Film Studies Kyung Hyun Kim, Associate Professor, Film & Media Studies, UC Irvine Dissertation Advisor: Marcia Landy, Distinguished Professor, Film Studies ii Copyright © by Seung-hwan Shin 2014 iii NEW KOREAN CINEMA: MOURNING TO REGENERATION Seung-hwan Shin, PhD University of Pittsburgh, 2014 The past two decades saw Korean cinema establishing itself as one of the most vibrant national cinemas in the world. Scholars have often sought clues in democratization in the early 1990s. Yet, the overall condition of Korean cinema had remained hardly promising until the late 1990s, which urges us to rethink the euphoria over democratization. In an effort to find a better account for its stunning and provocative revival, this dissertation challenges the custom of associating the resurgence of Korean cinema with democratization and contends that Korean cinema has gained its novelty and vitality, above all, by confronting the abortive nature of democratic transitions. The overarching concern of this study is thus elucidating the piquant tastes of the thematics and the styles Korean cinema has developed to articulate public discontents with recent historical changes. -
Nation Brand, National Prestige, and the Social Imaginaries of the Advanced Nation in South Korea
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses April 2021 NATION BRAND, NATIONAL PRESTIGE, AND THE SOCIAL IMAGINARIES OF THE ADVANCED NATION IN SOUTH KOREA Jung-Yup Lee University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Asian Studies Commons, Critical and Cultural Studies Commons, International and Intercultural Communication Commons, Journalism Studies Commons, Public Relations and Advertising Commons, and the Social Influence and oliticalP Communication Commons Recommended Citation Lee, Jung-Yup, "NATION BRAND, NATIONAL PRESTIGE, AND THE SOCIAL IMAGINARIES OF THE ADVANCED NATION IN SOUTH KOREA" (2021). Doctoral Dissertations. 2117. https://doi.org/10.7275/20453680 https://scholarworks.umass.edu/dissertations_2/2117 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. NATION BRAND, NATIONAL PRESTIGE, AND THE SOCIAL IMAGINARIES OF THE ADVANCED NATION IN SOUTH KOREA A Dissertation Presented by JUNG-YUP LEE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2021 Department of Communication © Copyright by Jung-Yup Lee 2021 All Rights Reserved Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) NATION BRAND, NATIONAL PRESTIGE, AND THE SOCIAL IMAGINARIES OF THE ADVANCED NATION IN SOUTH KOREA A Dissertation Presented by JUNG-YUP LEE Approved as to style and content by: ______________________________________________ Henry Geddes, Chair ______________________________________________ Briankle Chang, Member ______________________________________________ Jina E.