• Title/Summary/Keyword: 북한영화

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Studies on North Korean Documentary Films: Structures as to How Meanings of Film Literature are Made (북한 기록영화 연구: 영화문헌의 의미생성 구조)

  • Kim, Seung
    • The Journal of the Korea Contents Association
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    • v.17 no.11
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    • pp.82-89
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    • 2017
  • This paper intends to examine how North Korea has incited and persuaded its people by figuring out the structure regarding the meaning creation of its documentary film "Kim Jong-un, the Respected Comrade Supreme Commander, Giving On-site Guidance on the Grand Project of the People's Army" produced in 2015, which was North Korea's politically important year. The analysis results show that its narrative structure of the film took the form of an introduction, body, and conclusion to substantiate it obviously given theme. Its imaging techniques are geared towards uplifting the public's combat mentality and its sound contributes to achieving their adherence. In this regard, its film literature has the following meaning structure: first, the film takes the form of both film annals and the structure for the public to easily comprehend; second, the film clearly demonstrates its deep-rooted theme asking for the public to follow in the footsteps of the party's late father for its leadership; and third, the film also aims to establish the images of an always awake working leader by implanting and arranging the leader's diligence about his revolutionary activities in the documentary film. North Korea's documentary films serve as a weapon used for instigating revolution and construction. Given this, the producers of all documentary films have made sure to turn film literatures into the film literatures of the great leader. It was identified that under the social vision that the Kim Jong-un regime is a "socialist civilized country", he has tightened his grip on power in North Korea through the propaganda tool of film literatures.

Character Design of North Korean Puppet Animation : focused on Change of Distinct Feature Around 1985 (북한 인형영화의 캐릭터 디자인 : 1985년경 특징적 변화를 중심으로)

  • Moon, Jae-Cheol;Hong, Joo-Ok
    • The Journal of the Korea Contents Association
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    • v.10 no.11
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    • pp.113-124
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    • 2010
  • This article studies on the character design of North Korea's puppet animation around 1985. At that time North Korea's puppet animation are improved glaringly in quantitative side and qualitative side of modeling. There has been constant support nationalistically to puppet animation from the initial period of animation production in North Korea unlike South Korea, and North Korea communicated lively with European socialist countries where tradition of puppet animation is strong. We can discover structural and figurative change of distinct feature in character design in 1985. Structurally, experimental forms and correct movement of joint were possible, because they used ball and socket armature. Expressively, they established own esthetics of character design in puppet animation applying technique of korean traditional painting to character design: laconism, perspicuity, delicacy.

Where should Korean cinema stand in terms of its global location? (한국영화는 지정학적 위치로 볼때 어디에 위치해야 하는가?)

  • Kim, jin-wook
    • Proceedings of the Korea Contents Association Conference
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    • 2012.05a
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    • pp.321-322
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    • 2012
  • 정치적으로 볼 때, 한국은 현재 북한과 남한이라는 분단 현실에 놓여있고, 북한은 제 2세계로 분류되어져 왔지만, 경제적으로나 지정학적 위치를 고려해 볼 때 북한은 현재 제 3세계로 간주되어가고 있다. 비록 이런 논의는 논쟁의 여지가 있기는 하지만 대한민국은 제 1세계와 제 3세계의 중간 어느 정도의 위치에 놓여있다고 본다. 소위, 서방과 태평양의 언저리에 놓여있는 실정이다. 본 연구에서는 영상연구방법 중 질적방법론의 사례분석과 문헌연구(한국민족영화운동(Korean National Cinema Movement (1980~1990)의 문헌연구)를 통해 제 3세계 영화, 비(非)서방(Non-Western) 영화들, Third Cinema 와 같은 용어들을 현대 동아시아(East Asia) 영화들을 특별히 한국영화에 적용하여 그 용어와 의미들을 논의하고자 한다. 이 논문에서 도출된 결과는, 글로벌 시대에 모든 영화들이 국적(이념)에 따라 구분 되어야 한다고 생각하지 않으며, 이러한 견지에서 동아시아(한국)의 영화는 반드시 재(再)평가 되어야하고, 제 3세계, 비(非)서방(Non-Western), 제 3세계 영화의 영역에 조심스럽게 재(再)위치해야 할 것을 재(再)조명하고 있다.

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Collective Minds Formed through North Korea's Documentary Films during the Arduous March Period: Focusing on < Let Us Hold High the Red Banner! > (고난의 행군 시기 북한 기록영화에서 조형된 집단적 마음: <내조국 빛내리>를 중심으로)

  • Kim, Seung;Lee, Woo-Young
    • The Journal of the Korea Contents Association
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    • v.16 no.5
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    • pp.327-334
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    • 2016
  • From the present perspective, North Korea overcame its crisis situation of the regime, the Arduous March. What was the driving force, enabling the regime to overcome the situation that could have been collapsed? This study intended to look into what strategy the North Korean government took to unite the social minds through its documentary films in the midst of the national crisis. The results of analysis are as follows. First, the documentary films emphasize that the people should become heroes in heroic fantasies. These films present the model cases, in which the people break through the hardships with their strong willpower, as an answer. Second, they mind the defeatism and encourage the triumphalism. They stress the importance of uniting collective minds as a breakthrough in overcoming the economic crisis. Third, they place an emphasis on creating the harmonized minds. They repeat the recovery of communistic morality, which has been emphasized up to date. Collective minds are eventually the outcome obtained from social experiences. North Korea stresses to convert the arduous march into the march to the paradise by the creation of collective minds through documentary films even in difficult realities.

Two Views of Unification of North and South Korea : Focusing on <Thaw of Spring Day> <Namnam Buknyeo>, and <Wedding Campaign> (통일을 바라보는 두 개의 시선 :<봄날의 눈석이>, <남남북녀>, <나의 결혼원정기>를 중심으로)

  • Choi, Eun-Jin
    • The Journal of the Korea Contents Association
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    • v.9 no.1
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    • pp.238-245
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    • 2009
  • Korea is a divided country, therefore South and North Korea have different views of division and unification. The state of division is national hurt and the unification is aspiration irrespective of different environment of politics, economy and culture. Unification has been national goal since Korea was divided, it represents for a variety forms. Especially films show the relationship and prejudices of South and North Korea. This thesis focus on representation of different views of unification of South and North Korea on , and . First one is the film of North Korea, and the others are films of South Korea. These are romantic comedy films, we could see the views of unification through marriage. And we would find out the unification in their own two different ways.

A Comparison of Image Representation Strategies used in Propaganda Films in South and North Korea: Focused on the 1960s (남북한 선전영화의 이미지 재현 전략 비교연구: 1960년대를 중심으로)

  • Kim, Seung
    • The Journal of the Korea Contents Association
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    • v.18 no.12
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    • pp.364-371
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    • 2018
  • In the 1960s, both South and North Korea needed to stabilize their regimes, and propaganda films were at the core of establishing this purpose. South Korea claimed legitimacy of a military government and called for service to fulfill the government's mission of the era, while North Korea emphasized the impeccability of their leader and the superiority of their socialist system. This study investigates image reproduction strategies used in South and North Korean propaganda films at the time under the context of domestic and foreign environments in the 1960s. First, South and North Korea portrayed their rulers as a strong leader and friendly leader, respectively, to establish legitimacy. Second, South and North Korea tried to image the same incident from different views in order to instill the spirit of age defined from their own perspectives. Third, propaganda films at the time portrayed desirable images of citizens (people) and visualized a flawless government. Authoritarian governments in South and North Korea in the 1960s facilitated the establishment of the so-called official society through propaganda films.

북한 결핵이야기 - 죽음을 담보한 탈북, 그리고 결핵

  • Jeon, Jeong-Hui
    • 보건세계
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    • v.58 no.1
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    • pp.14-17
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    • 2011
  • <보건세계> 원고 부탁을 받고 하나원에서 간호사로 12년 넘게 근무하면서 만났던 북한이탈주민들 중 간호했던 한 결핵환자와의 인연을 떠올리게 되었습니다. '지금 그녀는 어떻게 살고 있을까?' 그들 가운데 가장 기억에 남는 K에 관한 얘기를 기억 속에서 꺼내보려 합니다. 이 글은 북한사회의 경제적 어려움 때문에 결핵 진단을 받고도 약을 구할 수 없어 치료를 방치하다 결핵균이 뇌막염을 일으켜 하반신 마비라는 영원한 장애를 갖게 된 이야기입니다. 영화 갈이 멀기만 한 이야기가 바로 오늘 우리와 함께 사는 탈북민의 이야기이며, 우리가 그들과 함께 더불어 살아야하는 이유입니다.

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The actual aspects of North Korea's 1950s Changgeuk through the Chunhyangjeon in the film Moranbong(1958) and the album Corée Moranbong(1960) (영화 <모란봉>(1958)과 음반 (1960) 수록 <춘향전>을 통해 본 1950년대 북한 창극의 실제적 양상)

  • Song, Mi-Kyoung
    • (The) Research of the performance art and culture
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    • no.43
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    • pp.5-46
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    • 2021
  • The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.

Healthy People - 민머리로 파격 변신 연기파 배우 하정우

  • Kim, Gyeo-Ul
    • 건강소식
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    • v.38 no.8
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    • pp.16-17
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    • 2014
  • '추격자(2008)'의 연쇄살인범, '황해(2010)'의 조선족, '베를린(2012)'의 북한 특수요원 등, 워낙 어둡고 강렬한 캐릭터를 많이 맡아왔기에 유머러스한 하정우는 잊고 있었다. 새 영화 '군도: 민란의 시대'에서는 오랜만에 그의 개그 본능이 꿈틀댄다.

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Cinematic Place Representation of Korean War Films with Emphasis (인천상륙작전 영화에 표현된 장소 재현)

  • Chang, Yoon Jeong
    • Journal of the Korean Geographical Society
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    • v.49 no.1
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    • pp.77-90
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    • 2014
  • The purpose of this study is to examine cinematic representations of places in the Korean War films on the event of 1950 'Incheon Landing', focusing on the place representations. 'Incheon Landing' of September 1950 provided a turning point for the Korean War, and the event can be interpreted totally different from the South Korean and the North Korean perspectives. Two films on the same event of the 'Incheon Landing' - a South Korean film, "Incheon Landing Operation"(1965), and a North Korea film, "Wolmido"(1982)- were selected as major sources of analysis and comparison. each director has different intentions. One film was taken from the landing army's viewpoint, whereas the other film was taken from the defender's viewpoint. As a result, one film emphasized the battle as a spectacle of glorious victory from the landing army's viewpoint, while the other film glorified those soldiers killed in the battle as heroes from the defender's viewpoint.

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