DOCSLIB.ORG

The Representation of Filmic Masculinity in Five South Korean Award – Winning Films Gabriel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Representation of Filmic Masculinity in Five South Korean Award – Winning Films Gabriel TẠP CHÍ PHÁT TRIỂN KHOA HỌC & CÔNG NGHỆ: 5 CHUYÊN SAN KHOA HỌC XÃ HỘI VÀ NHÂN VĂN, TẬP 2, SỐ 3, 2018 Korean Men in Western film festival: The representation of filmic masculinity in five South Korean award – winning films Gabriel. F. Y. Tsang Abstract—Masculinity is volatile, subject to social. It has a stronger sensitivity to the national representation. It is both personal and collective, identity and cultural specificity of South Korea. It interchanging with historical and cultural dynamics. replicates some filmic elements from other This essay holds a focus on Korean masculinities regions, such as actions from Hong Kong, represented in five award-winning South Korean documentary styles from China and explosive films. In both diachronic and international perspectives, it differentiates between ideal, real and scenes from the United States, but simultaneously filmic masculinities, illuminating that ancient and remains its focus on rendering Korean-ness. The modern Korean masculinities do not purely stick to emphasis of Korean-ness is a crucial way for a fixed, expected and shared ideology. There are South Korean films to differentiate themselves variations in response to personal intention, from their competitors, and to let film critics, nationhood and cultural globalization. The main especially the Western ones, make clear argument of this essay is that conventional regulation is not the sole source to influence identification. masculinity representation. Even violation of 2002 and 2004 are two significant years in the idealized manhood could deliver a sense of Korean film history. They mark the critical masculinity. Extending this argument to the concern success of South Korean films. In 2002, Im with international film marketing, this essay Kwon-taek won the Best Director Award for Chi- questions about whether diversification of gender hwa-seon (also known as Painted Fire, Strokes of features would blur Korean masculinity and create new gender identification. Fire or Drunk on Women and Poetry) at the Cannes Film Festival, whereas Lee Chang-dong’s Keywords—cultural globalization, masculinity, film Oasis won the Special Director’s Award, the nationhood, South Korean films Fipresci Best Film Award, the Signis Award and the Marcello Mastroianni Award at the Venice 1. INTRODUCTION Film Festival. In 2004, Park Chan-wook’s Oldboy won Grand Prix at the Cannes Film Festival, and fter the commercial success of Kang Jeg- Kim Ki-duk won the Best Director Award for yu’s Shiri (1999), attracting 5.8 million A Samaritan Girl and four awards for 3-Iron viewers that beat the local box office record set by (including the Best Director Award, the Fipresci Titanic (4.7 million viewers) (Kim Youna 2013, Best Film Award, the Little Golden Lion Award 10), the South Korean film industry revived. It and the Signis Award) at the Berlin Film Festival welcomed a prolific new wave, encouraging mass and the Venice Film Festival respectively. The production of films with higher quality that success of five Korean films in two years at three supported a marketing war against Hollywood major art film festivals does not simply mean products internally and overseas, and delivering a separate acceptance of individual efforts paid to sense of internationalization. Unlike the French renovate Korean genres. It implies a critical notice New Wave, lasting from the late 1950s to the of the rise of collectively constituted filmic 1960s, that focused on personalizing the themes formula that represented the self-identification of and techniques of films, Korean New Wave, South Korean nationals. despite innovative ways of expression, is more Four Korean directors mentioned above are all Received: 10-01-2018, Accepted: 11-5-2018; Published: men. Including Kim Ki-duk’s Samaritan Girl, 30-9-2018 which is about the female protagonist offering Gabriel F. Y. Tsang, Sun Yat-sen University free prostitution after the death of her best friend, Email: [email protected] those award-winning films have male characters 6 SCIENCE AND TECHNOLOGY DEVELOPMENT JOURNAL: SOCIAL SCIENCES & HUMANITIES, VOL 2, ISSUE 3, 2018 playing significant roles. The themes of the films cognitive, perceivable and ever-changing. Filmic are basically androcentric. Directors generally masculinity makes a reference to the masculine assign actors to certain roles according to the representation in reality, and can imitate, distort, function and characterization that match their exaggerate, extract and modify it as what a physical sex, with a principle that women are director consciously or unconsciously intends. under control and suppressed. In the following Merely applying textual analysis, one can merely sections, I will address the masculine issues identify masculinity through differentiating it through studying and contextualizing the volatile from the elements that female characters masculinity represented in the five films. represent. In Chi-hwa-seon, Jang Seung-eop has clear personalities opposite to those of female 2. IM KWON-TAEK’S CHI-HWA-SEON: characters. In the love relationships, except the IMAGINING ANCIENT KOREAN first one that he fails because of his inferior social MASCULINITY identity, he usually plays an active role to make As the first Korean film that won a major award choices, instead of being chosen. The women he from one of the three most important art film met, except a prostitute, are all incapable of festivals, Chi-hwa-seon is a delicate pastiche of sustaining their lives through laboring and hence the cultural elements of the nineteenth-century need to depend on their fathers, husbands or male Korea. Like Japanese director Akira Kurosawa’s sex partners. The low education level and social Rashomon (1950), which won Golden Lion status cause their compliance with the men’s Award at the 1951 Venice Film Festival, and commands, as what Mary Wollstonecraft (1792) Chinese director Chen Kaige’s Farewell My criticized and reasoned about the subordinated Concubine (1993), which won Palme d’Or at the condition of European women in her era. For 1993 Cannes Film Festival, this film brought the instance, the sister of Jang Seung-eop’s master national film industry into the gaze of judges and follows her brother’s arrangement to get married satisfied their expected Oriental imagination. Kate with a man whom she may not love but can give E. Taylor-Jones quoted Kim So-young’s her economic support. Besides, the sex partner of statement that Chi-hwa-seon “provides a Jang, who truly loves him, needs a sexual framework through which the present South relationship with another painter in order to Korean problems under the globalization era can survive, after Jang left her for a long time for be rethought” and referred it to “the perceived drawing in the countryside. Under the observable desire of Im to appeal to the international social structure in the film, one can conclude that audience rather than focusing on the domestic the Korean masculinity represented in Chi-hwa- one” (2013: 49). That means the ancient setting of seon comprises rather arbitrary behaviors, this film creates an aesthetic illusion that alienates dominant social position and freedom of both local and overseas audience from their disobedience. This kind of masculinity is also familiar contemporary contexts. However, the observable in other ancient Korean films, such as cultural elements that modern South Korea has Hwang Jin Yi (2007) concerning a roguish male inherited from the past shortens the cognitive family servant becoming the instructor of a distance between the daily perception of the South legendary prostitute who had been his mistress. Korean audience and the narrated past of the film. Christina K. Gilmartin asserts that “Gender is In contrast, for the Western audience, the relational; femininity and masculinity make sense integration of various artistic elements, such as only in relation to each other, and behaviours that traditional painting with ink and brushes, playing are thought to transgress gender boundaries can be Dizi (a traditional Chinese instrument) and tea understood only if we know how a particular ceremony, largely detach them from their society has mapped those boundaries.” (1994: 1). everyday experience and identification of Korean She points out ther elativist nature of gender specificity. characterization and identification, especially the Masculinity, like cultural and artistic elements, importance of society in assigning masculinity to can create an effect of defamiliarization.1It is known. The technique of art is to make objects ‘unfamiliar,' to 1According to Viktor Shklovsky who conceptualized the make forms difficult to increase the difficulty and length of term “defamiliarization,” “The purpose of art is to impart the perception because the process of perception is an aesthetic sensation of things as they are perceived and not as they are end in itself and must be prolonged.” (1998: 16). TẠP CHÍ PHÁT TRIỂN KHOA HỌC & CÔNG NGHỆ: 7 CHUYÊN SAN KHOA HỌC XÃ HỘI VÀ NHÂN VĂN, TẬP 2, SỐ 3, 2018 men and femininity to women, and setting and be righteous (yi). In Chi-hwa-seon, Jang boundaries between two genders through the Seung-eop has some performances unrelated to assignment. The binary opposition involves a masculinity in the Western gaze, such as his sophisticated process of signification. In Moira consistent respect for his teacher. He keeps this Gatens’s view, this process is a historically and respect even after his teacher acknowledges that culturally given fact. She suggests that the artistic achievement of Jang is higher than his. masculinity and femininity, as imaginary In the Confucian sense, what Jang does related to products, have no “fixed essence,” but rather a his teacher, such as feeling shameful after “historical specificity” (1996:11,16). History occupying an important space in the paper for a differentiates bodies and withdraws the painting contributing to an important officer, inbetweenness of genders. That is why Gatens, shows his compliance with the ethical discipline with a practical concern, asserts that “there is no in which identity is more determinative than neutral body, there are two kinds of bodies: the ability.
Load more

Recommended publications
  • Mongrel Media Presents
    Mongrel Media Presents Pieta A film by Kim Ki-duk (104 min., Korea, 2012) Language: Korean Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html Ψ PIETA is… ‘Pieta’, meaning ‘pity’ in Italian, is an artistic style of a sculpture or painting that depicts the Virgin Mary sorrowfully cradling the dead body of Jesus. The Virgin Mary’s emotions revealed in ‘Pieta’ have represented the countless pains of loss that humans experience in life that are universally identifiable throughout centuries. It has been revived through master artists such as Michelangelo and Van Gogh. Ψ Main Credit a KIM Ki-duk Film production Executive producers KIM Ki-duk, KIM Woo-taek Producer KIM Soon-mo Written & directed by KIM Ki-duk Cinematography JO Yeong-jik Production design LEE Hyun-joo Editing KIM Ki-duk Lighting CHOO Kyeong-yeob Sound design LEE Seung-yeop (Studio K) Recording JUNG Hyun-soo (SoundSpeed) Music PARK In-young Visual effects LIM Jung-hoon (Digital Studio 2L) Costume JI Ji-yeon Set design JEAN Sung-ho (Mengganony) World sales FINECUT Domestic distributor NEXT ENTERTAINMENT WORLD INC. ©2012 KIM Ki-duk Film. All Rights Reserved. Ψ Tech Info Format HD Aspect Ratio 1.85:1 Running Time 104 min. Color Color Ψ “From great wars to trivial crimes today, I believe all of us living in this age are accomplices and sinners to such.
    [Show full text]
  • 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.
    [Show full text]
  • The Korean Wave 2007
    THE KOREAN THE KOREAN WAVE AS VIEWED THROUGHWAVE THE PAGES OF THE NEW YORK TIMES IN 2007 THE KOREAN WAVE AS As Viewed Through the Pages of The New York Times in 2007 THE KOREAN WAVE AS VIEWED THROUGH THE PAGES OF THE NEW YORK TIMES IN 2007 THE KOREAN WAVE AS This booklet is a collection of 65 articles selected by Korean Cultural Service New York from articles on Korean culture by The New York Times in 2007. THE KOREAN THE KOREAN WAVE AS VIEWED THROUGHWAVE THE PAGES OF THE NEW YORK TIMES IN 2007 THE KOREAN WAVE AS As Viewed Through the Pages of The New York Times in 2007 First edition, March 2008 Edited & published by Korean Cultural Service New York 460 Park Avenue, 6th Floor, New York, NY 10022 Tel: 212 759 9550 Fax: 212 688 8640 Website: http://www.koreanculture.org E-mail: [email protected] Copyright©2008 by Korean Cultural Service New York All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recovering, or by any information storage and retrieval system, without permission in writing from the publisher. From the New York Times © 2007 The New York Times All rights reserved. Used by permission and protected by the Copyright Laws of the United States. The printing, copying, redistribution, or retransmission of the Material without express written permission is prohibited. Cover & text design by Jisook Byun Printing & binding by Karis Graphic Corp. Printed in New York Korean Cultural Service New York CONTENTS FOREWORD DANCE&THEATER The Korean Wave and American Views of Korea, Yesterday and Today 008 KO–ryO DANCE Theater 081 The Korean Wave: Last Year, Twenty–five Years Ago 012 A Contest for the World, Led by South Koreans 082 With Crews, And Zoos, A B–Boy World 084 MOVIES Jump 087 Tazza 017 FILM 018 FOOD It Came From the River, Hungry for Humans (Burp) 019 Koreans Share Their Secret for Chicken With a Crunch 089 Asian–American Theaters Plan New Festival 021 Heated Competition.
    [Show full text]
  • Cinema As a Window on Contemporary Korea
    KOREAN FILM AND POPULAR CULTURE Cinema as a Window on Contemporary Korea By Tom Vick THE FOUNDATIONS OF THE NEW KOREAN CINEMA In 1992, after decades of military rule, South Korea elected its first civilian president, Kim Young-sam. Along with the many social, political, and economic changes that accompa- nied the nation’s shift from military to democratic rule, the Korean film industry under- went a renaissance in both popularity and artistic quality, spurred by public and corporate investment, and created by filmmakers released from decades of strict censor- . when President Kim was informed that the ship that prevented them from directly addressing important issues. According movie Jurassic Park had turned a profit equal to to a frequently repeated anecdote, when President Kim was informed that the the export of 1.5 million Hyundai automobiles, he movie Jurassic Park had turned a profit was inspired to provide greatly increased state Marriage Story. equal to the export of 1.5 million ©1992 Shin Cine Communications Ik Young Films Co., Ltd.. Hyundai automobiles, he was inspired support to the media and culture industries. to provide greatly increased state sup- port to the media and culture indus- tries.1 Prior to that, the surprising box office success of Kim Ui-seok’s Marriage Story in 1992, which was financed in part by the corporate conglomerate Samsung, prompted other corporations to see movies as a worthwhile investment.2 Directors who suffered under censorship took advantage of this new era of free expression and increased funding to take on once forbidden topics. Jang Sun-woo, who had been imprisoned at one point for his political activi- ties, addressed the Kwangju Massacre of May 18, 1980, during which the military brutally suppressed a pro-democratization uprising, in A Petal (1996).
    [Show full text]
  • Download/Constitution of the Republic of Korea.Pdf (Accessed August 12, 2013)
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation Permalink https://escholarship.org/uc/item/42f9j7mr Author Kim, Jisung Catherine Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 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).
    [Show full text]
  • POONGSAN PBOOK.Pdf
    a KIM Ki-duk Film production Format Digital MAIN TECH Aspect Ratio 1.85:1 CREDIT Written and Produced by KIM Ki-duk INFO Running Time 121 min. Director JUHN Jaihong Sound D-cinema 5.1ch Starring YOON Kye-sang, KIM Gyu-ri Color Color Cinematography LEE Jeong-in Recording KIM Sang-woon Sound LEE Seung-yeop Editor SHIN Cheol World Sales FINECUT © 2011 KIM Ki-duk Film. All Rights Reserved. ABOUT THE MOVIE ”Cannes has enlightened me, and POONGSAN will be the first flare to raise me up. I wish to bring it out to the world after it is completed. Especially, I expect the audience will enjoy watching this movie since it is the most commercial of them all,” said KIM Ki-duk SYNOPSIS Although they’re close no one can easily cross over North and South Korea. But there is a young man named Poongsan. The man with the eyes of an innocent child, Poongsan crosses over North and South Korea to deliver the pain and longings of separated families. Even though this can cause him get shot, he takes the risk without any fear. One day, by a secret request by South Korean government agents he sneaks into North to bring over In-oak, the lover of a high-ranking North Korean defector. On their way to South Korea, they fall for each other while experiencing life-and-death situations together several times. However upon their arrival, they’re welcomed by agents who capture and torture Poongsan while In-oak gets disappointed with her old lover who has changed so much over the past years.
    [Show full text]
  • World Sales: FINECUT CO., LTD
    World Sales: FINECUT CO., LTD. HEAD OFFICE CANNES CONTACT SALES INTERNATIONAL PUBLICITY 4F Incline Bldg., 891-37, Daechi-dong, Gangnam-gu, Riviera E9/F12 Youngjoo SUH (+33 6 07 25 82 62) Yura KWON ([email protected]) Seoul 135-280, Korea T. +33 4 92 99 33 09 Yunjeong KIM ([email protected]) Oya JEONG ([email protected]) T.+82 2 569 8777 / F.+82 2 569 9466 Luna KIM ([email protected]) E-mail. [email protected] www.finecut.co.kr A Letter From KIM Ki-duk Director’s statement – About ARIRANG An actress almost got in a fatal accident during the filming of Arirang... <Arirang> is If I didn’t give my heart, they would be bad people erased <Dream>. Over the Arirang Hills, send me... about Kim Ki-duk from memories, While filming a scene of committing suicide, the actress was left Arirang... playing 3 roles in 1. but if I gave my heart, I couldn’t let them go till the day that hanging in the air with no one able to do anything. Luckily, we Going up, going down... had left a 50 cm ladder below for just in case. Being sad, being overjoyed... Through <Arirang> I climb over one hill in life. I die as despicable people. If I didn’t quickly jump on that ladder and untie the rope... Being hurt, being happy... Through <Arirang> I understand human beings, thank the Ah… I totally lost it for a while and cried without anyone knowing. Doing this, doing that..
    [Show full text]
  • The Byron Shire
    THE BYRON SHIRE & Volume 25 #18 th al y Tuesday, October 5, 2010 e ut Mullumbimby 02 6684 1777 h a Byron Bay 02 6685 5222 Fax 02 6684 1719 e [email protected] b [email protected] www.echo.net.au page 18 21,000 copies every week YOU GRAB THE ANKLES AND I’LL GRAB THE WRISTS Children rescued from Looking through the Voyeur floodwaters Police and emergency services work- ers are being praised following a dar- ing rescue which saved two young children from a vehicle washed away by floodwaters at Upper Wilsons Creek. According to a police report, at about 11:15pm on Sunday a 42-year- old woman and her two children, aged six and four, were in a Mitsubishi Outlander when it was washed off a causeway about one kilometre north of the intersection of Wilsons Creek Road and Upper Wilsons Creek Road. The mother managed to get out of the vehicle; however, the Outlander was washed away by floodwaters be- fore she could remove her son and daughter. Police and other emergency ser- vices attended, but due to the height of the floodwaters, it was impossible for vehicles to cross safely. A local resident helped to string a rope across the causeway, enabling a senior constable and two Volunteer Rescue Association (VRA) personnel to cross on foot. The resident then led the police officer and VRA work- ers to the vehicle, which was trapped downstream about three metres from the river bank in extremely fast flow- ing water. A VRA worker climbed onto the Outlander’s roof and removed the four-year-old boy and six-year-old The Voyeur Byron’s Fashion Exposé, a fundraiser for the Byron Community Centre, packed the house full of local fashionistas last Friday night.
    [Show full text]
  • By JIMI BERNATH
    BARDO FILMS CINEMA OF THE AFTERLIFE by JIMI BERNATH 2 TABLE OF CONTENTS Introduction “Carnival of Souls” : Familiar Nightmares …………………………………………………..………...43 Bardo Blockbusters : “American Beauty” & “The Sixth Sense” ……………….……...…..85 “Jacob’s Ladder” : Search for a Guide ……………………………………………………..………….102 “Enter the Void” : Escape Velocity …………………………………………………………..…………. 49 The Dharma of Lynch: “Mulholland Drive” & “Inland Empire” ……………….……….108 “Vera” : The Underworld ………………………………………………………………………..…...……….106 Escape from Hell : “Diamonds of the Night” …………………………………………….………. 26 “Le Quattro Volte” : Elemental Change ……………………………………………………..…………..7 “Beetlejuice” : Guide as Huckster …………………………………………………………….…………..78 “Defending Your Life” : Purgatory as Shtick …………………………………………….…………90 “Ink” : Remembering Who You Were …………………………………………………………….…….59 “The Bothersome Man” : Not Bad As Purgatories Go …………………………….………….64 “The Lovely Bones” : Avenging Angel …………………………………………………………….….55 Following Robin : “Being Human” & “What Dreams May Come” …………………...22 Following Downey : “Chances Are” & “Hearts and Souls” ………………………………..46 Death at an Early Age : “Donnie Darko” & “Wristcutters a Love Story” ………….94 “Samaritan Girl” : Saint or Sinner ……………………………………………………………………..126 “The Life Before Her Eyes” : Headline Bardo ……………………………………………….…….75 Dia de Muertos : “Macario” “The Book of Life” & “Coco” …………………………..……..9 “Waking Life” : All Our Guides …………………………………………………………………….……...68 Japanese Ghost Stories : “Pitfall” & “Kuroneko” ……………………….…………….………..29 Crossing the Big
    [Show full text]
  • Intimacy and Warmth In
    A C T A K O R ANA VOL. 17, NO. 1, JUNE 2014: 105–135 MIRROR PLAY, OR SUBJECTIVIZATION IN 3 IRON: BASED ON LACAN’S ANALYSIS OF LAS MENINAS AND HIS OPTICAL MODEL By KIM SOH-YOUN Though Kim Ki-duk (Kim Kidŏk) has been most notorious as a filmmaker for his bleak and misogynistic imagination, most notably in The Isle (Sŏm), Address Unknown (Such’wiin pulmyŏng), Bad Guy (Nappŭn namja), The Coast Guard (Haeansŏn), and Samaritan Girl (Samaria), 3 Iron (Pinjip) seems rather a moderate and romantic love story. Nevertheless, the film still remains problematic mainly because of its enigmatic narrative line. The sensational poster image of the female protagonist embracing her husband, while at the same time kissing her lover, epitomizes what is at stake in 3 Iron from a Lacanian perspective. This article is devoted to the task of identifying the logic of subjectivization and different directions of freedom operating in that strange love triangle. What is noticeable in describing the subjectivity of protagonists is 3 Iron’s elaborate use of mise-en-scène through windows and mirrors. The function of reflective materials is to show the protagonists in love as alienated, split and spectral. Being spectral means being related to the status of the Real as otherness or nothingness. In that regard, the personages in Las Meninas could be applied to the characters in this film in terms of their topological status: the royal couple and Min’gyu, Velasquez and T’aesŏk, the princess and Sŏnwha. The first pair has the status of the Other, the second the Real and the third the Symbolic shifting to the Real.
    [Show full text]
  • Vkf/Kdkfjd Foojf.Kdk Vurjkz"Vªh; Flusek
    51st Hkkjr dk 51ok¡ vUrjkZ"Vªh; fQ+Ye lekjksg] 2020 51st International Film Festival of India, 2020 vkf/kdkfjd foojf.kdk: vUrjkZ"Vªh; flusek Official Catalogue: International Cinema OFFICIAL CATALOGUE INTERNATIONAL CINEMA I F F I 2 0 2 0 Hkkjr dk 51ok¡ vUrjkZ"Vªh; fQ+Ye lekjksg] xksok 51st International Film Festival of India, Goa TkUkOkjh 16-24, 2021 January 16-24, 2021 vk;kstd & fQYe lekjksg funs'kky; lwpuk vkSj izlkj.k ea=ky;] Hkkjr ljdkj Organized by the Directorate of Film Festivals Ministry of Information and Broadcasting, Government of India Festival Director: Chaitanya Prasad Deputy Director (International Programming): K Prashant Kumar Asst. Film Programmer: Jolyn Clare Langhu Asst. Film Programmer: Sunayana Katta Programming team, DFF: Anup Kumar Festival Coordinator: Hemanth N Festival Coordinator: Susheela Thapa Festival Assistant: Nikhil Kalangutkar Film Scheduler: Abhishek Timmalapur Delegate Registration: Pradeep S Editor (English): Manjulaa Shirodkar Editor (Hindi): Viplove Gupte Editorial Coordinator: Hemanth N Designer: Mukesh Chandra Co- Designer: Hemanth N Published by: Directorate of Film Festivals Ministry of Information & Broadcasting Government of India Produced by: Bureau of Outreach & Communication We are grateful to various film and festival publications/websites, the extracts from which have helped enrich this book. All views expressed in this publication are not necessarily those of the Editor or of DFF. You can visit us at www.iffigoa.org, www.dff.nic.in Hkkjr dk 51ok¡ vUrjkZ"Vªh; fQ+Ye lekjksg] xksok 51st International Film Festival of India, Goa TkUkOkjh 16-24, 2021 January 16-24, 2021 PRESIDENT REPUBLIC OF INDIA MESSAGE I am Happy to know that the 51st International Film Festival of India is being held in the beach state of Goa from 16th to 24th January, 2021.
    [Show full text]
  • Universidade Federal Da Bahia Sympathy For
    UNIVERSIDADE FEDERAL DA BAHIA FACULDADE DE COMUNICAÇÃO HUMBERTO LIMA SALDANHA MAGALHÃES SILVA SYMPATHY FOR VENGEANCE: O UNIVERSO NARRATIVO E ATERRORIZANTE DE PARK CHAN-WOOK NA TRILOGIA DA VINGANÇA Salvador 2010 HUMBERTO LIMA SALDANHA MAGALHÃES SILVA SYMPATHY FOR VENGEANCE: O UNIVERSO NARRATIVO E ATERRORIZANTE DE PARK CHAN-WOOK NA TRILOGIA DA VINGANÇA Monografia apresentada ao curso de graduação em Comunicação Social com Habilitação em Jornalismo da Faculdade de Comunicação da Universidade Federal da Bahia, como requisito parcial para obtenção do grau de Bacharel em Comunicação. Orientador: Prof. Dr. José Francisco Serafim Salvador 2010 Aos meus pais AGRADECIMENTOS Ao Professor José Francisco Serafim, pelas orientações imprescindíveis e enriquecedoras. Obrigado pela paciência, acolhimento e confiança. Aos Professores Mohamed Bamba e Ludmila Carvalho, por terem gentilmente aceitado participar da banca examinadora. Aos meus pais, irmãos e tias (especialmente Salete e Maria) pelo apóio constante e por terem suportado meu mau humor durante seis meses. Aos queridos amigos de sempre, “Bimbo”, Ana Emília, Ana Verena, Ilan, Laíse, Nathália, Pâmela e Thaís, por compreenderem meu isolamento e continuarem me amando. À Maíra, pelas dicas, incentivos de estudo sobre a obra de Park Chan-wook e por me possibilitar assistir vários filmes sul-coreanos no cinema. À Carol Guimarães, pelos valiosos palpites e observações a respeito desta monografia. A Bruno e João por acompanharem meu desenvolvimento. Aos amigos faconianos, Érika, Gleise, Ive, Josciene, Paulo e Vanessa, pelo carinho e companheirismo durante a graduação. À Carol Vieira e Marúzia pelos esclarecimentos sobre os mistérios da vida. A todos vocês o meu mais humilde agradecimento. Espero um dia poder retribuir à altura.
    [Show full text]