DOCSLIB.ORG

Korean Cinema of Perseverance: Pushing the Boundaries of Quality During the Park Chung Hee Authoritarian Era, 1961-1970

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Korean Cinema of Perseverance: Pushing the Boundaries of Quality During the Park Chung Hee Authoritarian Era, 1961-1970 Korean Cinema of Perseverance: Pushing the Boundaries of Quality During the Park Chung Hee Authoritarian Era, 1961-1970 By Ae-Gyung Shim A Dissertation submitted for the degree of Doctor of Philosophy (English, Media and Performing Arts) at the UNIVERSITY OF NEW SOUTH WALES 2010 Table of Contents Tables and Figures page vi Abbreviations vii Acknowledgements viii Abstract x Originality Statement xi Introduction: Korean Cinema Now and Then 1 Revisiting the Golden Age: Cinema of Perseverance 5 Methodology 11 Chapter Summaries 14 Chapter 1. Building A Propaganda Factory 17 1. Restructuring the Film Industry 18 1) Establishment of the National Film Production Centre 18 Newsreels (Daehan News) 20 Cultural Film (Munhwa Yeonghwa) 21 2) Consolidation: Pre-MPL Period 23 2. Rebuilding of the Film Industry with the Motion Picture Law (MPL) 25 1) Producer Registration System (PRS) 26 2) Censorship 32 3) Import Policy 38 Import Recommendation System (IRS) 39 Import Licence Reward System (ILRS) 40 3. Resistance: Anti-MPL Campaign 41 4. Conclusion: Impact of the MPL on Production, Direction and Genre 46 Chapter 2. Producer Registration System: Forming An Industry Cartel 48 1. The Cartel 50 1) The Janus Trade: Daemyeong Jejak 55 2) Import Licences as a Cash Cow 59 ii 3) Bobbing for Presales with the Exhibitor-Investors 63 2. Shin Film and the Success of Industrialisation 66 1) The Political Favourite 68 2) Leading by Internationalisation 72 3) Focus on Education 76 3. Conclusion: Cartel – Core of the Golden Age 77 Chapter 3. Propaganda Production and Anticommunist Filmmaking Efforts 79 1. Origins of the Anticommunist Genre 81 2. Anticommunist Genre As A Super Genre 83 3. Transgenre Possibilities 88 1) Reproduction of War Memories Through Spectacle: Five Marines (1951) 89 2) Separation Melodrama And Emotional Tenderness: South And North (1965) 94 3) Cold War Politics And Spies: Correspondent in Tokyo (1967) 98 4. Post-Anticommunist Genre 100 5. Conclusion: Revisiting the Anticommunist Genre 102 Chapter 4. Constructing Literary Films: Intersecting Genre, Policy and Industry 105 1. Origin of the Literary Genre 107 2. Rise of Literary Films in the 1960s 110 3. Literary Film Themes 113 1) Praising Cultural Nationalism: Deaf Samryong (1963) 113 2) Traditionalism, Locality, Festival Films: Seashore Village (1965) 119 3) Exploring Modernism: Mist (1967) 126 4. Conclusion: The Literary Genre As Cultural Propaganda 131 Chapter 5. Shin Sang-Ok and the Duality Between Film and Politics 133 1. From Political Artist and Propaganda Creator to Industry Leader 134 1) Ideological Conformity: Escape From Poverty 138 iii 2) The Pure Endorsement Film: Rice (1963) 143 3) Glorification of Militarism: The Red Muffler (1964) 146 2. Downward Spiral 149 1) Soft-pornography as Political Satire: Eunuch (1968) 151 3. Conclusion: Perseverance and Survival 156 Chapter 6. Lee Man-hee: Anticommunism Chaser and Genre Experimenter 158 1. Anticommunist Filmmaking: Collaborating with the Powers 159 1) Quintessential Anticommunism: Marines Who Never Returned (1963) 161 2. Conflicts with Censorship: Becoming a Political Scapegoat 167 1) Portraying A Few Good North Korean Men: Seven Female POWs (1965) 167 3. Melodrama: Cinematic Experiment and Social Realism 174 1) A Life of Living Hell: Holiday (1968) 177 4. Conclusion: Negotiating Spaces For Integrity 180 Chapter 7. Yu Hyun-mok: Auteurship Challenges 182 1. Authorship Within the Korean Context 184 1) Auteur Canvas: Aimless Bullet (1960) 186 2. Expansion of Auteurship: Spreading Beliefs in Film As An Art 193 1) Vanguard of Art Filmmaking: The Empty Dream (1965) 194 3. Beyond the PRS 201 4. Conclusion: Auteurship As Privilege 202 Conclusion. Cinema of Perseverance 206 Cinema of Qualities 209 Appendix A: List of Interviews 214 Appendix B: Selected Filmography 217 Bibliography 220 iv Tables and Figures List of Tables Table 1-1. Number of Changes of Registered Companies (1961-1970) page 24 Table 1-2. Number of Domestic Feature Film Productions in the 1960s 29 Table 1-3. Summary of the MPL Changes in the 1960s 48 List of Figures Figure 1-1. Film Censorship Process in the Late 1960s 33 Figure 2-1. Registered Producers at the Centre of the Industry 48 Figure 2-2. Daemyong 55 Figure 2-3. Poster of Rice (Donga Daily 15 November 1963: 4) 71 Figure 2-4. Election Campaign Poster (Donga Daily 2 October 1963: 1) 71 Figure 2-5. Poster of Last Woman of Shang (Kyeonghyang Daily 18 September 1964: 4) 75 Figure 3-1. Anticommunist Genre As a Super Genre: A New Canon of Genre Films 85 Figure 3-2. Poster of South and North (Donga Daily 9 January 1965: 4) 97 Figure 4-1. Poster of Deaf Samryong (Kyeonghyang Daily 10 Sept 1964: 4) 116 Figure 4-2. Poster of Seashore Village (Donga Daily 18 November 1965: 6) 121 Figure 4-3. Poster of Mist (Donga Daily 24 October 1967: 5) 127 Figure 5-1. Poster of The Red Muffler (Donga Daily 4 March 1964: 4) 146 Figure 5-2. Poster of Eunuch (Kyeonghyang Daily 7 December 1968: 4) 152 Figure 6-1. Poster of Marines (Donga Daily 10 April 1963:6) 161 Figure 7-1. Poster of Aimless Bullet (Donga Daily 21 October 1963: 4) 190 Figure 7-2. This Is How A Screenwriter Works (Silver Screen August 1965: 58) 195 Figure 7-3. Poster of The Empty Dream (Donga Daily 3 July 1965: 5) 198 v Abbreviations Import Recommendation System IRS Import Licence Reward System ILRS Korean Film Archive KOFA Korean Film Council KOFIC Ministry of Public Information MPI Motion Picture Law MPL MPL Enforcement Ordinance MPL-EO MPL Enforcement Rules MPL-ER National Film Production Centre NFPC Korean Motion Pictures Producers Association KMPPA Motion Pictures Association of Korea MPAK National Archives of Korea NAK Korean Movie Database KMDB Producer Registration System PRS Screen Quota System SQS Supreme Court of National Reconstruction SCNR United States Army Military Government In Korea USAMGIK United States Intelligence Agency USIA vi Acknowledgments I should first thank my partner and mentor, Dr Brian Yecies, not only for his continuous intellectual and emotional support for my PhD over the last six years, but also for fulfilling my life in general. Apart from writing the dissertation, my last six years have been full of challenges, including my complicated twin pregnancy and premature birth of my sons, as well as their early child care, all of which I would not have survived without Brian. I thank my supervisor, Annette Hamilton, for her insightful advice, which always showed me the bigger picture and broadened my scope of knowledge. My dissertation benefited enormously from her guidance and comments. I wish to express sincere thanks to the following industry people and scholars/researchers who willingly agreed to an interview and to share their vast knowledge. I am gratefully indebted to cinema owner Gwak Jeong-hwan, producers Kim In-gi, Hwang Nam, You In-taek and Yi Wu-seok, PIFF director Kim Dong-ho, film directors Yi Hyeong- pyo, An Cheol-hyeon, Lee Chang-ho, Im Won-sik, Yu Hyun-mok, Park Gwang-su and Im Kwon-taek, screenwriters Baek Gyeol and Kim Ji-heon, actor Yun Il-bong, former MPEA representative in Korea Cha Yun, and Megabox distribution manager Jang Gyeong-ik, for sharing their industry experiences and insights. I am also grateful for the deep insights that KOFIC researchers Kim Hyae-joon, Kim Mee- hyun and Kim Hyun-jung, KOFA researchers Cho Jun-hyung, Chung Jong-hwa and Jeong Hye-yeon, policymaker Kim Tae-hoon at the Ministry of Culture and Tourism, and scholars Kim Soyoung, Byon In-sik and Yi Hyoin shared with me. All of them shared with me their knowledge about the past and present Korean cinema. Institutional support was crucial for completing my dissertation. I also express my thanks to those many librarians and archivists from the National Assembly Library, Korean National Library, Yonsei University Library, Korean Film Council Library, Korean Film Archive and Lee Young-il Archive in Seoul, National Archives of Korea (NAK), and Kyongpook National University Library in Daegu, who helped me find much-needed data. A University Postgraduate Award from the University of New South Wales and a prestigious Graduate Fellowship from the Korea Foundation enabled me to focus on the research and writing during my candidature without having to seek vii employment. Travel grants from the University of New South Wales enabled me to make two valuable research trips to Korea in 2004 and 2005, which provided a strong foundation of industry and archive materials for constructing the dissertation. Finally, I thank my family who has always been supportive: my parents, my brother, my mother-in-law, my sister-in-law and my precious troublemaking twins. I thank my parents back in Korea, who always were on my side whenever I made big life decisions. I thank my mother-in-law, who considered me as her second daughter from the first moment we met. Lastly, I thank my precious troublemaking boys, Robert and Alex, who have entered kindergarten at the time of my completing this project in 2010, for coming into my life and making it brighter than I ever imagined. viii Abstract This thesis analyses film policy, production practices and genre construction under Park Chung Hee’s totalitarian government, which ruled South Korea between 1961 and 1979. It offers new theoretical insights about the modernisation of film culture in Korea, which left a rich legacy for filmmakers in the 21st Century. The period chosen for this study (1961-1970) is best known for the compressed industrialization that the nation experienced. This period called a golden age of the Korean cinema is known for struggle and success under the constraints of industrialisation, when the industry produced an average of 164 films per year.
Load more

Recommended publications
  • Resource62314 0.Pdf
    Daesoon Jinrihoe A New Religion Emerging from Traditional East Asian Philosophy Copyright ⓒ The Daesoon Academy of Sciences 2016 All Rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of The Daesoon Academy of Sciences. First Paperback printing June 30, 2016 Daesoonjinrihoe Press 875, Gangcheon-ro, Gangcheon-myeon Yeoju-si, Gyeonggi-do, Korea, 12616 A CIP catalogue record of the National Library of Korea for this book is available at the homepage of CIP(http://seoji.nl.go.kr) and Korean Library Information System Network(http://www.nl.go.kr/kolisnet). CIP Control No. : CIP2016015603 Find The Daesoon Academy of Sciences here : Homepage : http://www.daos.or.kr E-mail : [email protected] ISBN 978-89-954862-7-6 Contents Preface 1 Daesoon Sasang: A quintessential Korean philosophy 1 Don Baker 2 Kang Jeungsan: Trials and Triumphs of a Visionary Pacifist/Nationalist, 1894-1909 17 Key Ray Chong 3 The Correlative Cosmology of Daesoon and Ecology 59 Young Woon Ko 4 Daesoonjinrihoe’s Religious Thought: From a Confucian and Comparative Perspective 85 Edward Chung 5 Truth and Spatial Imagination: Buddhist Thought and Daesoonjinrihoe 113 Jin Y. Park 6 Hoo‐cheon‐gae‐byeok as a Korean Idea of Eschaton: 135 A Comparative Study of Eschatology between Christianity and Daesoon Thought Hiheon Kim 7 Investigating Daesoon Thought: A Korean New Reiligion’s Approach to 157 Identifying and Creatively Sublimating the Values of Korea’s Traditional Religions Gyungwon Lee 8 Kang Jeungsan’s Taoistic Tendency and the Taoism Elements of Mugeukdo 187 Namsik Ko 9 The History and Theology of Daesoonjinrihoe 199 Daesoon Institute of Religion and Culture Preface ⅰ Preface Daesoon thought is a comprehensive system of truth representing the Great Dao of ‘resolution of grievances into mutual beneficence’.
    [Show full text]
  • 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.
    [Show full text]
  • CH9503 04 Chang FEAT 46..56
    UC Riverside UC Riverside Previously Published Works Title Pachappa Camp Permalink https://escholarship.org/uc/item/8p88m8mw Journal California History, 95(3) ISSN 0162-2897 Authors Chang, Edward T Brown, Hannah Publication Date 2018-08-01 DOI 10.1525/ch.2018.95.3.46 Peer reviewed eScholarship.org Powered by the California Digital Library University of California EDWARD T. CHANG AND HANNAH BROWN Pachappa Camp The First Koreatown in the United States ABSTRACT Ahn Chang Ho (also known by his pen name, Dosan) moved to Riverside, California, in March 1904 and soon established the first Koreatown on the U.S. mainland, known as Dosan’s Republic or Pachappa Camp. Dosan helped found a local employment agency and negotiated relations with citrus farmers to find work for Koreans who lived in the community. With steady work available, Riverside became a popular destination for Korean immigrants and was thus an ideal location for the Gongnip Hyeophoe, or Cooperative Association, which Dosan created to foster a sense of community. The Gong- nip Hyeophoe later expanded to Korean settlements throughout California and eventually developed into the Korean National Association, which proved especially significant in organizing immigrants to fight for Korea’s independence in the wake of Japanese colonization in 1910. Pachappa Camp helped anchor its residents’ identity and supported Koreans’ struggles to support themselves and to fight for Korean sovereignty. The experiences of the Koreans in Pachappa Camp reflected not only exceptional moments in Korean American history, as the first Koreatown in the United States and one of the seats of the independence movement, but also the ubiquitous experiences that typified immigrant lives in the United States.
    [Show full text]
  • D2492609215cd311123628ab69
    Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films.
    [Show full text]
  • Frank Chin Papers Wyles, MSS 103
    http://oac.cdlib.org/findaid/ark:/13030/c8c53jvm No online items Guide to the Frank Chin Papers Wyles, MSS 103 University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural Archives Santa Barbara, California, 93106-9010 (805) 893-8563 [email protected] Guide to the Frank Chin Papers Wyles, MSS 103 1 Wyles, MSS 103 Title: Frank Chin Papers Identifier/Call Number: Wyles, MSS 103 Contributing Institution: University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural Archives Language of Material: English Physical Description: 68.0 linear feet121 document boxes; including 1 oversize container Date (inclusive): 1940-2011 Location note: Del Sur Biographical/Historical note Frank Chin is a UCSB graduate (1965) and is widely recognized as the most influential Asian American dramatist and writer (novels, short stories, essays) in the country. He is one of a handful of top literary figures in Asian American literary and cultural communities, and he is distinguished as being the first Asian American playwright produced in New York City. He founded the Asian American Theater Workshop in San Francisco which later evolved into the Asian American Theater Company (AATC). In discussing the value of the papers, Chin remarked, "I hope that my collection of research, letters and experimental manuscripts will stimulate a more traditional study of Asian American literature, beginning with an introduction to the Asian children's stories shared by China, Korea, and Japan since pre-historic times, and the "vernacular novels" developed to spread Chinese heroic tradition of the Ming, as a conscious expression of the myth of civilization throughout Asia.” “By making my papers available to the public, I hope that my efforts to treat knowledge of Asia and America as equally important will be seen and used.” Born February 25, 1940, Frank Chin describes himself as a fifth generation Chinaman.
    [Show full text]
  • Landscapes of Korean and Korean American Biblical Interpretation
    BIBLICAL INTERPRETATION AMERICAN AND KOREAN LANDSCAPES OF KOREAN International Voices in Biblical Studies In this first of its kind collection of Korean and Korean American Landscapes of Korean biblical interpretation, essays by established and emerging scholars reflect a range of historical, textual, feminist, sociological, theological, and postcolonial readings. Contributors draw upon ancient contexts and Korean American and even recent events in South Korea to shed light on familiar passages such as King Manasseh read through the Sewol Ferry Tragedy, David and Bathsheba’s narrative as the backdrop to the prohibition against Biblical Interpretation adultery, rereading the virtuous women in Proverbs 31:10–31 through a Korean woman’s experience, visualizing the Demilitarized Zone (DMZ) and demarcations in Galatians, and introducing the extrabiblical story of Eve and Norea, her daughter, through story (re)telling. This volume of essays introduces Korean and Korean American biblical interpretation to scholars and students interested in both traditional and contemporary contextual interpretations. Exile as Forced Migration JOHN AHN is AssociateThe Prophets Professor Speak of Hebrew on Forced Bible Migration at Howard University ThusSchool Says of Divinity.the LORD: He Essays is the on author the Former of and Latter Prophets in (2010) Honor ofand Robert coeditor R. Wilson of (2015) and (2009). Ahn Electronic open access edition (ISBN 978-0-88414-379-6) available at http://ivbs.sbl-site.org/home.aspx Edited by John Ahn LANDSCAPES OF KOREAN AND KOREAN AMERICAN BIBLICAL INTERPRETATION INTERNATIONAL VOICES IN BIBLICAL STUDIES Jione Havea Jin Young Choi Musa W. Dube David Joy Nasili Vaka’uta Gerald O. West Number 10 LANDSCAPES OF KOREAN AND KOREAN AMERICAN BIBLICAL INTERPRETATION Edited by John Ahn Atlanta Copyright © 2019 by SBL Press All rights reserved.
    [Show full text]
  • 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.
    [Show full text]
  • Beyond the Years
    BEAR ENTERTAINMENT, INC. PRIME ENTERTAINMENT CO., LTD PRESENT BEYOND THE YEARS DIRECTED BY IM KWON TAEK WRITTEN BY YI CHUNG JUN IM KWON TAEK PRODUCED BY KINO2 PICTURES IN ASSOCIATION WITH CENTURION TECHNOLOGY INVESTMENT CORPORATION KOREAN FILM COUNCIL (KOFIC) STARRING OH JUNG HAE JO JAE HYUN KOREA / 106' / 35MM / 1.85:1 / DOLBY SRD / COLOUR WORLD SALES: PARIS OFFICE: wild bunch 99 Rue de la Verrerie - 75004 Paris - France TEL +33 1 53 01 50 30 FAX +33 1 53 01 50 49 Vincent Maraval TEL +33 6 11 91 23 93 [email protected] [email protected] Gaël Nouaille TEL +33 6 21 23 04 72 PRESS: [email protected] Emmanuelle Castro TEL +33 1 53 01 50 25 [email protected] Carole Baraton TEL +33 6 20 36 77 72 [email protected] PLEASE NOTE: Silvia Simonutti TEL +33 6 20 74 95 08 High definition images can be downloaded from [email protected] the ‘press’ section of http://www.wildbunch.biz SYNOPSIS CAST Yoo-bong, a traditional singer tormented by his lack Song-hwa Oh Jung Hae of fame, teaches his daughter Song-hwa to sing and Dong-ho Jo Jae Hyun his stepson Dong-ho to play the traditional Korean drum. Together, the trio travel endlessly. Yoo-bong is a harsh master, obsessed with perfecting the CREW performance of his young pupils. Exhausted and DIRECTED BY Im Kwon Taek unable to stand this punishing regime, Dong-ho runs SCREENPLAY Yi Chung Jun away, abandoning both music and the stepsister he Im Kwon Taek secretly loves. DP Jung Il Sung EDITOR Park Soon Duk Many years pass, Now grown, Dong-ho and Song-hwa MUSIC Ryo Kunihiko both realize the longing they have always felt for SET DESIGNER Park So Hui each other.
    [Show full text]
  • Western Criticism, Labelling Practice and Self-Orientalised East Asian Films
    Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films Goldsmiths College University of London PhD thesis (Cultural Studies) Ji Yeon Lee Abstract This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism.
    [Show full text]
  • EARL JACKSON, Jr
    EARL JACKSON, Jr. The Subject of Representation in Korean Cinema: Two Limit Cases The so-called “Golden Age” of Korean Cinema – roughly the 1950s through the 1960s is widely believed to be dominated by a realist aesthetic. In her studies of the films of Kim Kiyoung – and in particular in rescuing his 1960 masterpiece Hanyo (The Housemaid) from undeserved obscurity1 , Kim Soyoung illuminated a body of work that is a counter-example to such a characterization. I would like to make a complementary intervention. Rather than drawing attention to exceptions to the “realist cinema” of the time, I would like to reconsider Obaltan [Aimless Bullet] (Yu Hyun Mok, 1960), one of the so-called “realist” classics of the period to highlight ways in which the film exceeds the limits of that aesthetic2. I will then attempt a comparative reading of this film with a more contemporary film, Nappeun Yonghwa [Bad Movie] (Jang Sun Woo 1998). My larger aim is not merely to offer a new interpretation of a classic, nor merely to contest a truism of Korean film history, but rather to delineate modes of reading film attuned to the forms of representation and signification that are specific to cinema. A substantial number of Korean films raise questions about the meaning of human life and the meanings of individual human lives. I will explore this tendency not thematically but cinematically. My point of entry into each film will be a scene in which a subject of the narrative (a character in a fiction film and a “real person” in a documentary) either questions the nature of its existence or negates that existence.
    [Show full text]
  • Purple Hibiscus Novel
    Purple Hibiscus a novel by Chimamanda Ngozi Adichie For Professor James Nwoye Adichie and Mrs. Grace Ifeoma Adichie, my parents, my heroes, ndi o ga-adili mma. Table of Contents Title Page Dedication Breaking Gods Speaking With Our Spirits The Pieces of Gods A Different Silence Acknowledgments P.S. About the Author About the book Read on Also by the Author Praise Preview Copyright About the Publisher BREAKING GODS Palm Sunday Things started to fall apart at home when my brother, Jaja, did not go to communion and Papa flung his heavy missal across the room and broke the figurines on the étagère. We had just returned from church. Mama placed the fresh palm fronds, which were wet with holy water, on the dining table and then went upstairs to change. Later, she would knot the palm fronds into sagging cross shapes and hang them on the wall beside our gold- framed family photo. They would stay there until next Ash Wednesday, when we would take the fronds to church, to have them burned for ash. Papa, wearing a long, gray robe like the rest of the oblates, helped distribute ash every year. His line moved the slowest because he pressed hard on each forehead to make a perfect cross with his ash-covered thumb and slowly, meaningfully enunciated every word of “dust and unto dust you shall return.” Papa always sat in the front pew for Mass, at the end beside the middle aisle, with Mama, Jaja, and me sitting next to him. He was first to receive communion.
    [Show full text]
  • Reverberações De Lee Man-Hee No Cinema Coreano Contemporâneo1
    Reverberações de Lee Man-hee no cinema 1 coreano contemporâneo Gilson José Fagundes Júnior2 Graduado em Cinema e Audiovisual pela UFPel Resumo: Este trabalho objetiva analisar as influências do diretor Lee Man-hee no cine- ma coreano contemporâneo, buscando analogias entre aspectos estéticos, temáticos e políticos, de gênero e de linguagem. A pesquisa usa como objeto principal os filmes A Day Off (Lee Man Hee, 1968) e Tale of Cinema (Hong Sang-soo, 2005), tendo como corpus teórico autores como DIFFRIENT (2005) HUH (2005) e MUN (2009). Palavras-chave: cinema coreano; Lee Man-hee; Hong Sang-soo Abstract: This article aims to analyze the influences of the film director Lee Man-hee in the contemporary Korean cinema, seeking similarities between aesthetic aspects, thematics and politics, film genres and film language. This article use as a main object to research the films A Day Off (Lee Man Hee, 1968) and Tale of Cinema (Hong Sang-soo, 2005), the theo- retical corpus is supported by authors as DIFFRIENT (2005) HUH (2005) and MUN (2009). Keywords: korean cinema; Lee Man-hee; Hong Sang-soo INTRODUÇÃO Lee Man-hee3 é um realizador que atuou durante o início dos anos 60 até metade dos anos 70, dirigindo no total 51 filmes, sendo que destes apenas 23 películas sobreviveram até os dias de hoje. 1 Este texto foi adaptado do trabalho de conclusão do Curso de Cinema e Audiovisual da UFPel, defendido em 2014, com título homônimo. 2 [email protected] 3 Para este artigo, optou-se pela transliteração dos nomes e palavras em coreano, utilizando-se o sistema chamado Romanização revisada da língua coreana, que a partir dos anos 2000 entrou em vigor substituindo o antigo sistema McCune-Reischauer.
    [Show full text]