• Title/Summary/Keyword: 신극

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Bruno Dumont's Cinematic World Seen from the Perspective of the New Extremism: Focusing on P'tit Quinquin (신극단주의 관점에서 바라본 브루노 뒤몽의 영화세계 - <릴 퀸퀸>을 중심으로)

  • Choi, Soo-Im
    • Cross-Cultural Studies
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    • v.40
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    • pp.185-212
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    • 2015

  • Bruno Dumont's film P'tit Quinquin (2014) trends toward 'the new extremism' in contemporary European cinema. This criminal-mystery-comedy film achieves the cinematic recognition of reality in the new extremist way: like typical new extremist films, P'tit Quinquin contains a lot of 'unwatchable' content, including disembodied parts of human body, carcasses, and the body of a boy who has killed himself. The reality, however, remains confidently invisible, despite everything that is visible within the film. In understanding Dumont's attempt to reach cinematic recognition, the relationship between 'the visible' and 'the invisible' is reconsidered. In the context of the film, the relationship between cinema and reality becomes indirect. The reality can be only felt, not seen. The invisible reality can be perceived only as a void, just like the criminal who is unknown even though he is sought after. To reveal this void, the film strives to give its viewers as much explicitly visible content as possible during its 200-minute run. This essay is an interdisciplinary attempt to examine the working and the effects of this cinematic attempt by Bruno Dumont; aspects of film theory, visual anthropology, (inter-)mediology, posthumanism in cultural theory, etc., are related for this purpose.

A technique for treating exposed cardiac Pacemaker (피부괴사로 노출된 심장 Pacemaker에 대한 처치 : 증례 보고)

  • Sin, Geuk-Seon;Yu, Jae-Deok;Hong, Seung-Rok
    • Journal of Chest Surgery
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    • v.17 no.1
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    • pp.125-128
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    • 1984

  • The management of the exposed cardiac pacemaker or its lead is a new challenge to the plastic surgeon. This complication is not rare. Coburn et al. [1972] reported less than 5 percent, but Sowton et al. [1974] showed that over a period of 19 years, in a series of 372 patients, the pacing system had to be removed because of local wound breakdown or infection in 10 percent of the cases. The methods used to treat exposure may vary from removal and re-introduction at anterior site to the rotation of local flaps to cover the exposed pacemaker. Recently we have experienced 6 times of migration and recurrent skin ulcerations without pyogenic infection overlying the pacemaker in one patient. We developed a new technique, anchoring the pacemaker to the clavicle by a wire through the hole of clavicle and by creating a pocket under the pectoralis major muscle. Then we would like to emphasize this operating method could be choice of treatment to prevent the migration of pacemaker and the ulceration of skin when complication of implantation of pacemaker is occurred.

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A study on the controversy of the modernity of the Tsukiji Little Theater -With a focus on Kabuki, Shinpa, and Shingeki- (축지소극장의 근대성 문제에 대한 연구 -가부키(歌舞伎), 신파(新派), 신극(新劇)의 연관성-)

  • Kim, Hyeoncheol
    • Journal of Korean Theatre Studies Association
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    • no.48
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    • pp.421-446
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    • 2012

  • The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.