• Journal of Digital Convergence
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• v.18 no.6
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• pp.435-441
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• 2020

This study attempts to analyze by the gender political point of view of the recent film, 'A Special Lady', focusing on the case of setting up women as the main characters in the 2000s Korean film noir genre. Concretely, this study conducted a narrative analysis focusing on the three elements of genre film, the identity of the characters and their family relationships, and the Oedipal trajectory. The film, 'A Special Lady', has the narrative about the maternal love assigned to female protagonist, and that emphasizes male pure love. And the film shows the flashbacks concerning to motherhood that prove the biological identity of the female protagonist, and signs that weaken the castration fear resulting from male voyeurism. Further, the film depicts the fragmentation of identity and the cracking of family relationships, revealing the confusion of gender identity and the narrative degeneration into family melodrama. Meanwhile, the film fails to complete the feminine Oedipal trajectory by reducing the female character's motherhood to a biological one instead of expanding it into an alternative quality embracing the other. These findings suggest that the korean gangster is closely related to gender politics and is not completely out of gender bias.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.175-176
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• 2014

영화<씬 시티>는 프랭크밀러 원작의 만화 '씬 시티'를 영화로 만든 작품이다. 흑백영상과 조명, 원색의 컬러와 뒤에 배경을 컴퓨터그래픽으로 배치함으로써 표현주의를 바탕으로 한 필름 느와르 장르와 원작의 컷을 사용하여 그래픽 노블 이미지를 영상으로 연출하였다. <씬 시티>를 분석하여 이를 통한 영상 미학적 특성과 비쥬얼 스토리텔링에 대해 살펴 볼 수 있는 연구라 사료된다.

• Journal of Fashion Business
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• v.15 no.4
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• pp.1-15
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• 2011

Femme Fatale in Film Noir is a wicked woman character who seduces the male partner to a ruin. In the film, the dress style is of extreme importance for the personality creation of the character as well as the development of the plot. With this background, I have looked over the Femme Fatale dress style that appears in the movie . First, it expresses Femme Fatale which stresses the feminine trait by a dress style with enlarged chest and hip parts and long, slim silhouette with tight waist and knee line. Second, the Femme Fatale with pretended purity presents narcissistic satisfaction like a saint virgin by wearing a neck-high one-piece dress embellished with frills, but the use of mirror represents self-alienation and the vanity of purity. Third, the Femme Fatale with its military dress style presents authoritative sternness which leads seduced male into ruin with its destructive power. Fourth, wearing jersey type or knitted wear that sticks to the body presents sensual Femme Fatale. Fifth, the tulle, chiffon, and white handkerchief used for the creation of grotesque Femme Fatale represents harmlessness and prohibition of immoral behavior, and the black gloves, pillbox, and the number on the tulle present her uneasy psychological state from the fear of being discovered after murdering her husband. On the other hand, the see-through tulle presents alluring sensual beauty. Sixth, the combination of the dialogue in the final sequence and drapery type as in Greek goddess represents the saint virgin of salvation who acknowledges her own fault and returns to her purity again. In addition, accessories and others made from shining material represent hidden conspiracy through simple dress and contradictory dynamics, and shoes embellished with bonbon, etc represent sexual implications in connection with male.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.273-282
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• 2022

The narrative of the film, Sweet Smell of Success has a multi-layered structure. In Clifford Odets's scenario work, numerous lines for the main plot and subplots repeated a cycle of creation, decomposition, deletion, and modification to enhance the density of the story. As a result, whenever an actor spoke a line or paused, an action or an event that would trigger another line was created, giving depth and persuasiveness to the character's performance. The music of Sweet Smell of Success has multi-layered elements. The non-diegetic music was covered by the orchestral pieces performed by Elmer Bernstein's big band orchestra and the jazz pieces performed by Fred Katz's combo band. The diegetic music was mostly covered by the jazz pieces performed by the Chico Hamilton Quintet. The practical task of the film music was to reinforce or supplement the effect of the narrative driver, and the additional task was to realize the estrangement effect and the aesthetics of stagnation. The possibility and significance of intertextuality of subplots and double sound of this film are not simply confined to the limits of the film noir genre.

• Digital Contents
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• no.1 s.140
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• pp.110-115
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• 2005

2003년 11월에 개봉된 영화<올드보이>는, 으로 유명해진 박찬욱 감독의 복수극 3부작의 제2편으로 알려진 작품이다. 3부작의 첫 편인 <복수는 나의 것>의 연장선상에서 이 영화를 예견했던 평론가들과 관객들은 전작이 가지지 못했던 상업성까지 겸비한 이 영화의 독특한 스타일과장르, 그리고 신선한 소재에 감탄하고 열광했다.영화<올드보이>는 기본적으로 상업적으로 ‘잘만들어진(well-made)’ 영화이다. 말하고자 하는 것도 명징(明澄)해 관객들을 혼란스럽거나 지루하지 않게 만들며, ‘멜로’적요소와‘느와르’적요소, 거기에‘미스테리’요소까지 들어 있어 관객들의 시선을 쉴틈없이 붙잡아 둔다. 화려한 색감과 음울하면서도 압도적인 오리지널 사운드 트랙의 선율, 신선한 촬영기법(특히, 영화 속 최민식의 3분동안의 롱테이크‘장도리 액션’장면은 이 영화의 압권이다), 그리고중간 중간 보이는 블랙 코미디의 요소까지. 물론 이 영화를‘잘만들어지게’만든데에는 최민식이라는 배우의 뛰어난 연기력과 그외의 배우들의 호연도 큰몫을 했다. 그래서 관객들은 이 영화가 숨겨둔 ‘비밀’의 섬뜩함과 불편함에도 불구하고 이영화를 ‘재미있게’ 보러 왔다. 그 덕분에 <올드보이>는 흥행면에서 꽤 큰 성공을 거두어 300만명 이상의 관객을 동원했다. 그리고 2004년 5월 화제를 뿌리며 칸느 영화제에서 심사위원대상이라는 쾌거를 거둔다. 뿐만 아니라 2003년 청룡영화상, 2004년 대한민국영화대상 등 국내영화제에서도<올드보이>의 활약은 대단했다. 2003년흥행과 작품성 모두에서 인정을 받은<살인의추억>의 자리를 이 영화가 물려 받고 있다고 할만하다. 한마디로 말해, 우리가 늘 주목하는‘잘된콘텐츠’의 전형적인 예인 것이다. 바로 그 지점 때문에 우리는 이 영화에 대해 이야기할 필요가 생긴다.

• The Journal of the Korea Contents Association
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• v.15 no.3
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• pp.48-56
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• 2015

The film music in the 1940s is characteristic of its functional role of afterward crime movie and for expressed theme of scene to causing tension by encompassing the situational description of the scenes as well as psychological struggles of characters within the realm of musical techniques. This study demonstrates the process of change of theme music that expresses time-dependent plot development in Double Indemnity in which Miklos Rozsa participated as a music director and the result verifies the hypothesis that stimulate the senses and induces increased for the absorbed in the scene musical elements can be adopted as a symbolic means to emotions in movies.

• The Journal of the Korea Contents Association
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• v.10 no.6
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• pp.236-248
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• 2010

Through this thesis, I analyzed Coen brothers's directing style centering around Crime movies: Blood simple, Barton Fink, Fargo, The man who wasn't thers, No country for old man. About directing style of Coen brothers, plot is an epic depiction, habitual use of narration, refusal of happy ending. They concern subject matters about human original nature and tragedy by greed. And as motifs, they often use misunderstanding, crossing over, chase. Also they likes characters of ordinary people who is destroyed by greed. How about their technical style? They usually use steady-cam and wide lens in camera, and in his early crime movies he used expressionistic lights, but after that they usually used realistic natural lights. About sound, they likes more sound effects than music. Also they directed realistic acting and emphasized actor's personality. Coen brothers has been directed many crime movies and comedy films. But their unique directing style was particularly outstanding in the crime movies

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.116-126
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• 2012

As a film maker, Lee Chang Dong stands out from most Korean film makers who work within the trappings of genre films. To be sure, Lee has also used the trappings of genre films, such as noire and melodrama, but primarily as a tool to communicate with film audience. In his most recent film "Poetry", Lee seems to have even stripped even the minimal trappings of genre film. Lee commands the audience to self-reflect and work towards their own conclusions by denying them the illusory identification on screen. In this way, Lee's works are counter cinema. Lee achieves a distancing effect using such filmic apparatuses as hand-held camera, fantasy, mise en abyme, and returned gaze. Through these filmic apparatuses, Lee exposes the re-presentation of text and compels his audience to see the historical and political contexts of the text. In this study, I make the case that Lee Chang Dong's film making is an act of repetition compulsion that cultivates ethical reflection, through symbolization of the invisible realities.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.301-338
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• 2021

John Woo's A Better Tomorrow arrived at the turning point of Korean society between 1987 and 1988. The Hong Kong movie boom that started here reached its peak around the 1990s. What does this phenomenon mean? Hong Kong action films have functioned as an important resource for Korean young male subculture since the late 1960s. The audience of A Better Tomorrow matches the audience of previous Hong Kong films in a generational and gendered way. The fascination of Hong Kong action films by young Korean men from 1987 to 1991 has nothing to do with Hong Kong's political context. However, a certain affect is shared between Korean and Hong Kong audiences. It could be said to be the brotherhood within the struggling group. The affective economies of this fraternity embodies the broad solidarity of 1987, the solidarity of comrades seeking to resist the violence of the world. It also works on symbolic and practical gender bias. In other words, this loyalty is nothing but loyalty between the (male) brothers who are confronting the injustice of the world. This is the "translational possibility" of A Better Tomorrow.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.181-190
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• 2020

Asura: The City of Madness, which was released in 2017, attracted great attention even prior to its release with the combination of Director Kim Sung-su, and actors, Jung Woo-sung, Hwang Jung-min, Ju Ji-hoon and Kwak Do-won. Faithful to its genre as a crime film of film noir, Asura: The City of Madness created multi-layered issues by the overthrow of the archetypal hero character and variation of the heroic narrative structure drew diverse interpretations among both critics and viewers alike. This study aims at analyzing the heroic narrative structure of Asura: The City of Madness based on Christopher Vogler's "The Hero's Journey" and examining how the universality and typicality of narrative structures as mentioned by Vogler are applied to this film. Although the universal and typical characteristics of all narrative structures cannot be analyzed through Christopher Vogler's The Hero's Journey, five atypical characteristics could be derived from this film that deviate from the universality mentioned by Christopher Vogler by looking at the characteristics of the heroic narrative structure implemented as Han Do-kyung, the leading character and a "hero," proceeds through the 12 stages. This study examines which variations such atypical characteristics brought to the heroic narrative structures in crime films what has changed in audiences' expectations, and how it could work as an alternate narrative.