Korea CORE-UA 543 / Spring 2014
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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. -
The Korean Internet Freak Community and Its Cultural Politics, 2002–2011
The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 by Sunyoung Yang A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Anthropology University of Toronto © Copyright by Sunyoung Yang Year of 2015 The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 Sunyoung Yang Doctor of Philosophy Department of Anthropology University of Toronto 2015 Abstract In this dissertation I will shed light on the interwoven process between Internet development and neoliberalization in South Korea, and I will also examine the formation of new subjectivities of Internet users who are also becoming neoliberal subjects. In particular, I examine the culture of the South Korean Internet freak community of DCinside.com and the phenomenon I have dubbed “loser aesthetics.” Throughout the dissertation, I elaborate on the meaning-making process of self-reflexive mockery including the labels “Internet freak” and “surplus (human)” and gender politics based on sexuality focusing on gender ambiguous characters, called Nunhwa, as a means of collective identity-making, and I explore the exploitation of unpaid immaterial labor through a collective project making a review book of a TV drama Painter of the Wind. The youth of South Korea emerge as the backbone of these creative endeavors as they try to find their place in a precarious labor market that has changed so rapidly since the 1990s that only the very best succeed, leaving a large group of disenfranchised and disillusioned youth. I go on to explore the impact of late industrialization and the Asian financial crisis, and the nationalistic desire not be left behind in the age of informatization, but to be ahead of the curve. -
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. -
Korean Culture and Media Films and Korean Culture UNIT 5
Korean Culture and Media Films and Korean Culture UNIT 5 1 Korean Culture and Media Films and Korean Culture UNIT 5 Note: Copyright 2009 by CALPER and The Pennsylvania State University. All rights reserved. No part of the data or content in this workbook may be reproduced without explicit written permission from the Center for Advanced Language Proficiency Education and Research and the authors and no secondary materials may be developed from this data or content. Funding: This project is funded by the U.S. Department of Education (P229A60003). The films treated in Units 3, 4, and 5 were provided by The Korea Foundation, The Korea International Trade Association (KITA), and The Korea Tourism Organization (KTO). Produced by: Center for Advanced Language Proficiency Education and Research The Pennsylvania State University 5 Sparks Building University Park, PA 16802-5203 Website: http://calper.la.psu.edu 2 Korean Culture and Media Films and Korean Culture UNIT 5 CULTURE AND MEDIA SERIES FILMS AND KOREAN CULTURE INTRODUCTION This workbook series has been designed to complement existing pedagogical materials for intermediate, advanced, and heritage learners of Korean. Many of those materials are based on written text using specially selected samples of language for the purposes of teaching grammar, vocabulary, and particular elements of culture. Some include audio and video supplements to more fully represent the sounds, rhythms, and cadence of the language; such supplements, when provided, also well illustrate the social, interactional, and cultural aspects of the linguistic constructions and/or the thematic topics of the lessons at hand. The workbooks in this series are intended to add to the existing range of instructional materials for Korean. -
South Korea's Online Feminism Movement: Megalia
Responding to Misogyny, Reciprocating Hate Speech - South Korea's Online Feminism Movement: Megalia The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Lee, Wonyun. 2019. Responding to Misogyny, Reciprocating Hate Speech - South Korea's Online Feminism Movement: Megalia. Master's thesis, Harvard Graduate School of Arts and Sciences. Citable link https://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37366046 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Author Responding to Misogyny, Reciprocating Hate Speech South Korea’s Online Feminism Movement: Megalia A Thesis in the Field of Anthropology for the Degree of Master of Arts Harvard University November 2019 Copyright 2019 [Wonyun Lee] Acknowledgements The year in Harvard for me had been an incredibly rewarding experience. Looking back, I cannot believe how much I have learned and grown. This is, for the most part, thanks to my two advisors: Pr. Arthur Kleinman and Pr. Byron Good. I learned so much from them. I have the greatest respect for Arthur Kleinman for his academic rigorousness. His classes were intellectually insightful and resolute with political engagement. His commitment to academic integrity taught me to become a better anthropologist. I express my deepest gratitude to Byron Good, for his classes as well as many hours of our personal conversations. His penetrating wisdom shaped and refined my thesis. -
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. -
Fall 2015 01:574:230:01 Korean Cinema
DEPARTMEMT OF ASIAN LANGUAGES AND CULTURES Fall 2015 │ 01:574:230:01 Korean Cinema: Korean society through film Tuesday 9:50am-12:50pm, Murray Hall #301 Instructor: Seol Ki, Ph.D candidate in Communication. Email: [email protected] | 1 Office Hours: Thursday 11:00AM-12:30PM Office: Friedrich House (SC&I Annex “B”), Room #351 (Address: 21 Huntington street) 1. Course Description This course examines Korean society and culture through cinematic representations. Through film, the course provides a broad understanding of the major social and political changes in Korean society, as well as a brief history of Korean cinema and the transformations in the structure of the Korean film industry. While critically engaging with Korean films in reverse-chronological order, we will explore several themes recurring in the history of Korean cinema, including tradition, national division and civil war, struggles against colonialism and military dictatorship, and identity. All films will be screened with English subtitles. Please be advised that some of the films featured in the class may contain scenes of explicit sexuality or violence. 2. Course Goals Examination of contemporary Korean cinema as a reflection of major social and political changes in Korean society Understanding of key themes and events in Korean history, culture, tradition, and values 3. Course Structure Classes will include combinations of film screenings, lectures, presentations, and BOTH online (Sakai) AND offline (in-class) discussions. We will usually begin with a presentation to discuss the previous week’s film. You are responsible for submitting TWO written review papers for any two weeks of your choice, which should lay out your critical understanding and analysis of the readings and the film. -
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). -
Korean Culture and Media Films and Korean Culture UNIT 3
Korean Culture and Media Films and Korean Culture UNIT 3 1 Korean Culture and Media Films and Korean Culture UNIT 3 Note: Copyright 2009 by CALPER and The Pennsylvania State University. All rights reserved. No part of the data or content in this workbook may be reproduced without explicit written permission from the Center for Advanced Language Proficiency Education and Research and the authors and no secondary materials may be developed from this data or content. Funding: This project is funded by the U.S. Department of Education (P229A60003). The films treated in Units 3, 4, and 5 were provided by The Korean Foundation, The Korea International Trade Association (KITA), and The Korea Tourism Organization (KTO). Produced by: Center for Advanced Language Proficiency Education and Research The Pennsylvania State University 5 Sparks Building University Park, PA 16802-5203 Website: http://calper.la.psu.edu 2 Korean Culture and Media Films and Korean Culture UNIT 3 CULTURE AND MEDIA SERIES FILMS AND KOREAN CULTURE INTRODUCTION This workbook series has been designed to complement existing pedagogical materials for intermediate, advanced, and heritage learners of Korean. Many of those materials are based on written text using specially selected samples of language for the purposes of teaching grammar, vocabulary, and particular elements of culture. Some include audio and video supplements to more fully represent the sounds, rhythms, and cadence of the language; such supplements, when provided, also well illustrate the social, interactional, and cultural aspects of the linguistic constructions and/or the thematic topics of the lessons at hand. The workbooks in this series are intended to add to the existing range of instructional materials for Korean. -
The Senses As Strategy in the South Korean Family Bonnie R. Tilland A
Hateful and Heartwarming Bonds: The Senses as Strategy in the South Korean Family Bonnie R. Tilland A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Ann Anagnost, Chair Clark Sorensen Sasha Welland Program Authorized to Offer Degree: Anthropology © Copyright 2015 Bonnie R. Tilland University of Washington Abstract Hateful and Heartwarming Bonds: The Senses as Strategy in the South Korean Family Bonnie R. Tilland Chair of the Supervisory Committee: Professor Ann Anagnost Department of Anthropology This dissertation investigates women’s strategizing around the senses in South Korea, tracing the ways that women move between sensory experience as an ideal and as an object to put into motion. I argue that the language of the sensory is invoked to stand up to state or societal pressures regarding family-making, child-rearing, and maternal subjectivity. The senses, affect, and emotions are employed to carve out space for individual and family well-being within neoliberal logics of productivity, but these new areas of sensory possibility are too often colonized by the same neoliberal logics. Utilizing multi-sited ethnography, media analysis, and an interdisciplinary feminist perspective, I followed the language of sensory development and sensory experience in practice through participant-observation at community spaces, and through ethnographic interviews. The main issues of this dissertation include: first, the ways that the extended family in South Korea is structured through visual culture and watching/being seen, resulting in ambivalence, particularly in the mother-in-law and daughter-in-law relationship. Second, how touch and other senses are conceived of as avenues for emotional and psychological fortification for young children, and how this cultivation of sensory education is extended not just to the mother-child bond, but also to national healing. -
The Romantic Perpetuation of Patriarchy Through the Representation of Pretty Boy in Popular Korean Dramas in Malaysia
© Media Watch 8 (3) 298-310, 2017 ISSN 0976-0911 e-ISSN 2249-8818 DOI: 10.15655/mw/2017/v8i3/49153 Prettiness as a Shield: The Romantic Perpetuation of Patriarchy through the Representation of Pretty Boy in Popular Korean Dramas in Malaysia SOH WENG KHAI & JULIANA ABDUL WAHAB School of Communication, Universiti Sains Malaysia The idea of being a pretty boy was hailed as a regional privileged male ideal in Asia after the booming of Korean wave in late 1990s that saw Korean drama featuring men that openly embrace both masculine and feminine traits. They were often described as tall, possessing a slim feminine face, fashionable and romantic. While the pretty boy image was seen as a form of 'new masculinity' that acknowledged women equally, however, critical qualitative content analysis of popular Korean dramas in Malaysia, Moon Embracing the Sun (2012) and The Heirs (2013) revealed that these Korean men were feminised through the use of constant fragmented and close-up shots, and also through the use of bright and colourful costume. Although they did not hide their emotions, however, this performance only took place in the private sphere. As much as the metrosexual tried hard to disassociate themselves with the notion of femininity and queerness, the idea of being a pretty boy showed similar disavowal-masculinity is maintained through high-ranked social position despite there is an acceptance of a more feminised appearance. Keywords: Pretty boy, metrosexuality, masculinity, Korean drama, Korean wave Deemed as the contemporary dominant incarnation of East Asian popular culture (Ainslie & Lim, 2015, p. 2), the Korean wave (or popularly known as hallyu) has showed no sign of shrinking after almost two decades since the release of Winter Sonata that start exporting Korean cultural phenomenon globally in 2002. -
Korean Ethos in Cinema
Keumsil Kim Yoon, Bruce Williams. Two Lenses on the Korean Ethos: Key Cultural Concepts and Their Appearance in Cinema. Jeferson: McFarland, 2015. 288 pp. $45.00, paper, ISBN 978-0-7864-9682-2. Reviewed by Robert Oppenheim (University of Texas at Austin) Published on H-Asia (January, 2016) Commissioned by Sumit Guha (The University of Texas at Austin) Korean Ethos in Cinema Attention to cultural and historical keywords culture is explicitly a priori (p. 7). For speech or oth‐ has provided a helpful methodological and sub‐ er communication, they posit a “cultural layer” stantive focus to research in a variety of disci‐ prior to context and the linguistic formatting of plinary fields. As its title suggests, Keumsil Kim ideas that is generative of deep meaning and nu‐ Yoon and Bruce Williams’s book aims to elucidate ance. In this formulation, there is a strong contrast “key cultural concepts” of a Korean “ethos,” under‐ with recent, more processual understandings of stood as “a thread weaving through divergent so‐ culture advanced in anthropology and related cial, economic, and political contexts rather than fields, for which culture does not stand apart from a static and essentialist norm” (p. 6). However, context but is inextricable from it, a method of be‐ notwithstanding this disclaimer and the occasion‐ ing within it. al just-so historical story about, for instance, the The book is divided into two halves, with the development of one facet of one important con‐ first devoted to a conceptual unfolding of the au‐ cept “when the nomadic tribes in Manchuria and thors’ central Korean keywords.