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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. -
Collection Adultes Et Jeunesse
bibliothèque Marguerite Audoux collection DVD adultes et jeunesse [mise à jour avril 2015] FILMS Héritage / Hiam Abbass, réal. ABB L'iceberg / Bruno Romy, Fiona Gordon, Dominique Abel, réal., scénario ABE Garage / Lenny Abrahamson, réal ABR Jamais sans toi / Aluizio Abranches, réal. ABR Star Trek / J.J. Abrams, réal. ABR SUPER 8 / Jeffrey Jacob Abrams, réal. ABR Y a-t-il un pilote dans l'avion ? / Jim Abrahams, David Zucker, Jerry Zucker, réal., scénario ABR Omar / Hany Abu-Assad, réal. ABU Paradise now / Hany Abu-Assad, réal., scénario ABU Le dernier des fous / Laurent Achard, réal., scénario ACH Le hérisson / Mona Achache, réal., scénario ACH Everyone else / Maren Ade, réal., scénario ADE Bagdad café / Percy Adlon, réal., scénario ADL Bethléem / Yuval Adler, réal., scénario ADL New York Masala / Nikhil Advani, réal. ADV Argo / Ben Affleck, réal., act. AFF Gone baby gone / Ben Affleck, réal. AFF The town / Ben Affleck, réal. AFF L'âge heureux / Philippe Agostini, réal. AGO Le jardin des délices / Silvano Agosti, réal., scénario AGO La influencia / Pedro Aguilera, réal., scénario AGU Le Ciel de Suely / Karim Aïnouz, réal., scénario AIN Golden eighties / Chantal Akerman, réal., scénario AKE Hotel Monterey / Chantal Akerman, réal., scénario AKE Jeanne Dielman 23 quai du commerce, 1080 Bruxelles / Chantal Akerman, réal., scénario AKE La captive / Chantal Akerman, réal., scénario AKE Les rendez-vous d'Anna / Chantal Akerman, réal., scénario AKE News from home / Chantal Akerman, réal., scénario, voix AKE De l'autre côté / Fatih Akin, réal., scénario AKI Head-on / Fatih Akin, réal, scénario AKI Julie en juillet / Fatih Akin, réal., scénario AKI L'engrenage / Fatih Akin, réal., scénario AKI Solino / Fatih Akin, réal. -
A Stylistic Approach to the God of Small Things Written by Arundhati Roy
Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of English 2007 A stylistic approach to the God of Small Things written by Arundhati Roy Wing Yi, Monica CHAN Follow this and additional works at: https://commons.ln.edu.hk/eng_etd Part of the English Language and Literature Commons Recommended Citation Chan, W. Y. M. (2007). A stylistic approach to the God of Small Things written by Arundhati Roy (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/eng_etd.2 This Thesis is brought to you for free and open access by the Department of English at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. A STYLISTIC APPROACH TO THE GOD OF SMALL THINGS WRITTEN BY ARUNDHATI ROY CHAN WING YI MONICA MPHIL LINGNAN UNIVERSITY 2007 A STYLISTIC APPROACH TO THE GOD OF SMALL THINGS WRITTEN BY ARUNDHATI ROY by CHAN Wing Yi Monica A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy in English Lingnan University 2007 ABSTRACT A Stylistic Approach to The God of Small Things written by Arundhati Roy by CHAN Wing Yi Monica Master of Philosophy This thesis presents a creative-analytical hybrid production in relation to the stylistic distinctiveness in The God of Small Things, the debut novel of Arundhati Roy. -
Published 26 February 2019 LKFF 2018
1–25 NOVEMBER LONSM_350_ .pdf 1 2018. 8. 22. �� 8:48 It is my pleasure to introduce to you the 13th instalment of the London Korean Film Festival, our annual celebration of Korean Film in all its forms. Since 2006, the Korean Cultural Centre UK has presented the festival with two simple goals, namely to be the most inclusive festival of national cinema anywhere and to always improve on where we left off. As part of this goal Daily to Seoul and Beyond for greater inclusivity, in 2016 the main direction of the festival was tweaked to allow a broader, more diverse range of Korean films to be shown. With special themes exploring different subjects, the popular strands covering everything from box office hits to Korean classics, as well as monthly teaser screenings, the festival has continued to find new audiences for Korean cinema. This year the festival once again works with critics, academics and visiting programmers on each strand of the festival and has partnered with several university film departments as well. At the time of writing, this year’s festival will screen upwards of 55 films, with a special focus entitled ‘A Slice of Everyday Life’. This will include the opening and closing films, Microhabitat by Jeon Go-woon, and The Return by Malene Choi. C ‘A Slice of Everyday Life’ explores valuable snapshots of the sometimes-ignored M lives of ordinary Koreans, often fragile individuals on the edge of society. One Y will also see director Lee Myung-se's films in the Contemporary Classics strand and Park Kiyong's films in the Indie Firepower strand. -
LINEWAITERS' GAZETTE Title Index
LINEWAITERS' GAZETTE Title Index A. Friend Needs Kidney [A], 2/16/17 Abimbola Wali: 25 Years of Baking in Brooklyn [A], 12/16/99 Activism Profile: JFREJ—Jews for Racial and Economic Justice [A], 10/26/06 Activities in Prospect Park [PE], 7/3/97 Actualizing Democracy at the Coop [A], 6/8/95; 3/14/96 Addendum to the 3/26/02 Working Paper on the Truth-in-Pricing Laws [A], 5/16/02 Addressing Coop Growth [CC], 3/20/03 Adios, Sayonara, Goodbye [PE], 9/7/00 Affordable Culinary Holiday Gifts: Buy a Basketful for Your Favorite Cook or Host [A], 12/4/08 After This Winter [S], 4/12/07 The Age of Consequences: Special Private Film Screening [A], 9/1/16 Aged to Perfection: The Cheese Caves of Crown Heights [A], 7/19/18 Agenda Committee Elections [A], 9/28/95; 10/26/95 Agenda Committee Elections: Four Terms Expiring in October—An Interesting Coop Workslot Opportunity [A], 10/10/96 Agenda Committee Report: Seeking Members for an Interesting, Challenging Workslot: Agenda Committee Election Scheduled for October 29 GM [A], 9/19/02 Agenda Committee Seeks New Members: Election Scheduled for October 29 GM [A], 10/17/02 Agenda Item [A], 5/21/98 Ah Sugar, Sugar, Salt and Fat [A], 3/7/13 AIDS Ride Follow-up!! [A], 10/12/95 Ain't No Mountain High Enough [A], 3/24/11 Air Purifiers: What You Need to Know [A], 3/6/03 Aisle 4A....Vitamins + More... Improvements Galore! (Draft 1) [A], 2/16/17 Albany Eyes Supplement Industry [A], 7/5/07 Albright Delivers Fascism Warning Amidst Protests [A], 5/10/18 Alexis, Who Made the Coop Smile [A], 3/7/13 All for Fun and Fun for -
Revue De Presse Land of Scarecrows
Revue de Presse Land of Scarecrows 1/ Variety Asia Online http://www.varietyasiaonline.com/content/view/6717/1/ Pusan reveals project funding winners Written by Han Sunhee Wednesday, 13 August 2008 Story Categories: Documentary, Festivals, Film, Finance, Korea, Pusan, SEOUL – Twenty seven movie projects are to receive funding from the Pusan International Film Festival's Asia Cinema Fund it was announced Tuesday. The ACF spans three sections that support different aspects of the production and post-production processes for movies that are deemed Asia's most creative film efforts. The six recipients of coin from the 'Independent Feature Script and Project Incubating Fund' section include Korean helmer Kim Jong-kwan's "Seaside" and Malaysian director Woo Ming Jin's "Woman On Fire Looks For Water." A further six projects are to receive coin from the 'Independent Feature Post-production Fund.' These include Korean helmer Roh Gyeong-tae's "Land of Scarecrow," Chinese helmer He Jianjun's "River People." Malaysian helmer Ho Yuhang's "At The End of Daybreak" was selected as the recipient of Asia Pacific Actors Network's production support fund, and was backed by Korean production shingle M&FC. The AND Fund for docus rewarded five Korean projects including Korean-American female director Tammy Chu Tolle's "Resilience" and nine other Asian projects including Indian helmer Ranu Ghosh's "Quarter No. 4/11." 2008 Independent Feature Script and Project Development Fund recipients "Seaside" (Korea) Kim Jongkwan "Daybreak" (Korea) Cho Kyu Jang "The Reason" -
Film at Lincoln Center New Releases Series November 2019
Film at Lincoln Center November 2019 New Releases Parasite Synonyms Varda by Agnès Series Poetry and Partition: The Films of Ritwik Ghatak Jessica Hausner: The Miracle Worker Rebel Spirit: The Films of Patricia Mazuy Relentless Invention: New Korean Cinema, 1996-2003 Members save $5 Tickets: filmlinc.org Elinor Bunin Munroe Film Center 144 West 65th Street, New York, NY Walter Reade Theater 165 West 65th Street, New York, NY NEW RELEASES: STRAIGHT FROM SOLD-OUT SCREENINGS AT NYFF! Playing This Month Showtimes at filmlinc.org Members save $5 on all tickets! Neon Courtesy of Kino Lorber HELD OVER BY POPULAR DEMAND! HELD OVER BY POPULAR DEMAND! OPENS NOVEMBER 22 “A dazzling work, gripping from beginning to “Astonishing, maddening, brilliant, hilarious, “A fascinating, informative, and reflective end, full of big bangs and small wonders.” obstinate, and altogether unmissable.” swan song that gives Varda the final word.” –Time Out New York –IndieWire –Tina Hassannia, Globe and Mail Parasite Synonyms Varda by Agnès Dir. Bong Joon Ho, South Korea, 132m In Bong Dir. Nadav Lapid, France/Israel/Germany, Dir. Agnès Varda, France, 120m When Agnès Joon Ho’s exhilarating new film, a threadbare 123m In his lacerating third feature, director Varda died earlier this year at age 90, the world family of four struggling to make ends meet Nadav Lapid’s camera races to keep up with the lost one of its most inspirational cinematic gradually hatches a scheme to work for, and as adventures of peripatetic Yoav (Tom Mercier), radicals. From her neorealist-tinged 1954 fea- a result infiltrate, the wealthy household of an a disillusioned Israeli who has absconded to ture debut La Pointe Courte to her New Wave entrepreneur, his seemingly frivolous wife, and Paris following his military training. -
Cultural Production in Transnational Culture: an Analysis of Cultural Creators in the Korean Wave
International Journal of Communication 15(2021), 1810–1835 1932–8036/20210005 Cultural Production in Transnational Culture: An Analysis of Cultural Creators in the Korean Wave DAL YONG JIN1 Simon Fraser University, Canada By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization. Keywords: cultural production, Hallyu, cultural creators, transnational culture Since the early 2010s, the Korean Wave (Hallyu in Korean) has become globally popular, and media scholars (Han, 2017; T. J. Yoon & Kang, 2017) have paid attention to the recent growth of Hallyu in many parts of the world. Although the influence of Western culture has continued in the Korean cultural market as well as elsewhere, local cultural industries have expanded the exportation of their popular culture to several regions in both the Global South and the Global North. Social media have especially played a major role in disseminating Korean culture (Huang, 2017; Jin & Yoon, 2016), and Korean popular culture is arguably reaching almost every corner of the world. -
Contemporary Korean Cinema and Society
Course Syllabus 2021 WINTER ABROAD AT YONSEI Contemporary Korean Cinema and Society CREDIT 3 INSTRUCTOR Dr. Hyunjun Min OFFICE OFFICE HOURS TIME Mon-Fri 09:30-12:00 CLASSROOM LOCATION TBA E-MAIL [email protected] [COURSE INFORMATION] The turbulent recent history of South Korea has produced a society that is engaged with a variety of local and global social forces in complex and contradictory ways. The sweeping social changes in South Korean society have engaged it in a struggle to redefine and re-examine COURSE DESCRIPTION itself, and its relation to such basic ideas as gender, class, tradition and nation. Contemporary & GOALS films provide an especially interesting entry into these issues and how Koreans have been thinking about them. This course is intended to enhance students` understanding of a variety of historical, social, cultural issues of South Korean society by analyzing relevant contemporary South Korean films. PREREQUISITE None It is mandatory that you watch films on your own, if a film is assigned for the class. Films will be available on YSCEC, if they are not available on Youtube, and it is your responsibility to COURSE REQUIREMENTS watch given films before each class begins. Certain screenings in this course may contain material some find offensive. Your enrollment in this course indicates your awareness of this and your willingness to approach these texts in a critical manner. Attendance and Participation 30% Midterm Exam 30% GRADING POLICY Final Paper 40% Presentation extra TEXTS & REFERENCES Course Packet Ph.D. Comparative Literature. University of Maryland at College Park MA. Cinema Studies. City University of New York (CUNY) INSTRUCTOR’S PROFILE MA. -
Download Detailseite
W-4349:W_ 30.01.2011 18:47 Uhr Seite 38 Berlinale 2011 Lee Yoon-ki Wettbewerb SARANGHANDA, SARANGHAJI ANNEUNDA KOMMT REGEN, KOMMT SONNENSCHEIN COME RAIN, COME SHINE COME RAIN, COME SHINE Republik Korea 2011 Darsteller Frau Lim Soo-jeong Länge 105 Min. Mann Hyun Bin Format 35 mm, 1:1.85 Nachbarin Kim Ji-su Farbe Nachbar Kim Joong-ki Mutter Kim Hye-ok Stabliste anderer Mann Ha Jeong-woo Regie Lee Yoon-ki Nachrichten- Buch Lee Yoon-ki, sprecher Yu Jin-young nach der Kurzgeschichte von Areno Inoue „The Cat That Can Never Come Home“ Kamera Jang Hyeong- wook Schnitt Kim Hyeong-ju Ton Jeon Sang-jun Mischung Lee Seung-cheol Production Design Seo Myeong-hye Lim Soo-jeong, Hyun Bin Spezialeffekte Hong Jang-pyo Kostüm Lee Jin-sook Maske Woo Hyung-joong KOMMT REGEN, KOMMT SONNENSCHEIN Cho Ara Sie muss zu einem Geschäftstermin nach Tokio fliegen. Er fährt sie im Auto Herstellungsltg. Chae Hyun-woo zum Flughafen. Auf der Fahrt sagt sie ihm, dass es vorbei ist. Sie wird ihn Produzent Oh Jungwan verlassen. Er scheint das zu akzeptieren. Kein Streit kommt auf, es gibt auch Co-Produzentin Ellen Kim keine Nachfrage. Executive Producers Cho Gyunam Kim Woo-taek Einige Zeit später. Ein schwerer Sturm zieht über die Stadt und das Paar ver- Romeo Noh bringt in dem Haus, in dem es drei Jahre zusammengelebt hat, den letzten Chu Chen On gemeinsamen Tag. Es sind Kleinigkeiten, die sie an das Leben erinnern, das Cho Jaehyeon sie einmal geführt haben. Aber keiner versucht die Zeit zurückzudrehen, Daniel Yu beide scheinen sich mit der Situation abgefunden zu haben. -
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. -
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.