• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.76-87
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• 2014

Until 2000, there were only eight female directors in Korean film history; however, the number of female directors has increased with the number of new movies made and the entrance of new directors. In 2007, there were about seven new female directors and in 2009, there were released 13 movies directed by female. Even though the number of new movies and new entrants of female directors has augmented, the percentage of movies directed by female directors is about 5% of released Korean movies during the past ten years. Moreover, those female directors who enter the Korean film industry are mostly concentrated in low budget independent films. Yet, female directors have been continuously searching and challenging in order to find a way to communicate with general populations. As a result, recently female directors have been noticed in thriller films. This report will analyze how the thriller films directed by female directors have evolved since 2000 based on the status of female directors in commercial films. The report will analyze two thriller films "Helpless" and "Perfect Number", released in 2012.

• The Journal of the Korea Contents Association
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• v.20 no.3
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• pp.275-285
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• 2020

The purpose of this study is to explore the Iranian Woman Film Director Samira Makhmalbaf and her cinema world. Samira represents Iranian Islamic social problem base on her woman identity, and She is a symbolic director who is working Iranian new wave at the 21th. She has directed five movies as (1998), (2000), (2002), (2003), (2008). For this study, explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Iranian film history. In terms of esthetics, she tends to combinate between metaphor and reality, And, In thematic consciousness, consistently describes Islamic women's lives and liberty, anti-war and peace, sympathy for the under-privileged, etc. She inherits the tradition of Iranian third wave 'Children Cinema', and simultaneously tries to overcome Iranian art film tradition. Director Samira Makhmalbaf is a symbol of progress and change in Iranian film history, and is opening the new future of Iranian film.

• The Journal of the Korea Contents Association
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• v.15 no.6
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• pp.104-114
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• 2015

This study aims to investigate the landscape and significance of Korean feminist documentaries produced in the postfeminist era when the categorization of women is fragmented and the effectiveness of feminism is suspected. We discussed how Korean feminist documentary directors define the concept of feminism, and the main motives underlying their films. We also explored the representation strategies that the filmmakers adopt and what they intend to accomplish.

• Korean Journal of Family Social Work
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• no.59
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• pp.5-26
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• 2018

This study aims to examine the mediating effect of parental monitoring and child's self-esteem on the relationship between parental time and child's life satisfaction in single mother families. For this purpose, MOGEF (Ministry of Gender Equality and Family)'s 'Research data of adolescents in 2015' was used and 117 single mothers and their children aged 9 to 18 were selected for the analysis. Structural Equation model analysis reveals that adolescent's self-esteem has a mediating effect on the relationship between parental time and adolescent's life satisfaction, though parental time and parental monitoring have no significant effect on adolescent's life satisfaction. With these results, policy suggestions to support single mothers' parental time were proposed.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.30-44
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• 2021

The study analyzed Sofia Coppola's early films and to study her views about social frames on women. Moreover, the study shows the connection to Coppola's worldview on women in her other films; and . The study also analyzed the cinematography in her films as Coppola did not convey the messages directly. In addition, the study pursues a re-evaluation on , which was a controversial film among critics, and unravels the uncertain open-ending in . Throughout the comparative analysis, the study reveals that the two films have consistent views that do not differ from each other and that it was the progress to the growth of Coppola's worldview. The conclusion of these two films connects to another controversial content in Coppola's next film. Hence, one expects the analysis of these films to provide a better understanding of Sofia Coppola's other films.

• Cross-Cultural Studies
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• v.43
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• pp.115-138
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• 2016

The Milk of Sorrow (La teta asustada) (2009) is a Peruvian-Spanish film by a young, female Peruvian director, Claudia Llosa (1976 - ). By applying the theories that feminist and subaltern scholar Gayatri Chakravorty Spivak presents in "Feminism and Critical Theory", the present work questions the ironic term, "Feminism in the Third World" by considering the Latin American context. Would the term refer to the feminism of Native Indian women or white creole women? The present work raises this question via Llosa's The Milk of Sorrow, in which a white creole woman, Aída, takes advantage of a quechua woman, Fausta. Through analysis of this film, this work demonstrates that in the Latin American context, even in a single country, there should be various types of feminism, since what Native Indian women fight against is different from what white creole women fight against. Thus, it insists that feminism in the Third World should develop in a deconstructionist manner, in which each woman has the ability to interpret her own social and political stance. Furthermore, it can be said that cultural appropriation is taking place in the "real" world as well as on the screen: a white creole director, Llosa, is taking advantage of a hot-button issue in our postmodern era, the violation of the human rights of minorities, especially those of Latin American Native Indian women, since Llosa became a success and won many prizes in international film festivals for her work.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.18-29
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• 2014

was somewhat of a turning point for Godard, allowing the Novelle Vague auteur to address for the first time the current political climate of the world in one of his film, and this film is a film of constant questioning and is, in the truest sense, a 'talking film'. In this paper, I attempt to analyse the sound of this film to interpret the complicated sound structure in . Godard was aware of the power of sound and experimented diverse methods such as 'direct sound', interviewing using the effect of on-sound and off-sound, multiple narration, reading a text aloud, sound effect and music which are controled and selected by himself in this film. , with its largely improvised dialogue, was a work of journalism which was recorded a generation of Marx Coca-Cola.

• Cross-Cultural Studies
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• v.51
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• pp.193-212
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• 2018

This paper attempts to explore how Ang Lee depicts Asian and Western women in his films. We focus on two parts of his consciousness First, Ang Lee does not consider himself a feminist, he understands the world in terms of women who play societal roles. Second, Ang Lee's films reflect his identity in a juxtaposition model, in which he is a member of mainstream American society and also holds an onlooker's viewpoint at the same time. He depicts women, who are often marginalized or considered the minority, and their feminist ideals, as means that break down the authority of the father and the man, the traditional ideology, and the male dominant nationalism. Chinese women in movies divide apart traditional Chinese patriarchal ideology and male-dominated anti-Japanese sentiments. Also, the Western women in his films reveal the non-stereotypical appearance of Western society in the 1970s and 1980s, with daily tension, anxiety, abdominal pain and anger, silence and anxiety about homosexual husbands, and excessive obsession. The director's portrayal of women not only separates the male-centered and Western-centered discourse, but also reveals a self-division of internalized masculine patriarchal Asian thought consciousness.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.399-404
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• 2022

Céline Sciamma is a leading female director of her time. She is constantly making works on the subject of women. It can be said that it has pioneered a 'female narrative'. In particular, it shows a unique perspective in dealing with the complexities surrounding the formation of a girl's sexual identity and the influence of peer culture on individuals. In Portrait of a Lady on Fire, 'The Handmaiden', 'The Painter', and 'The Maid' show the solidarity of women without hierarchies in a liberated space where the patriarch is absent, showing a feminist interpretation of classics and a self-reflecting consciousness of women's historical records. Based on the setting of drawing, this film explores the genderization of gaze, gaze and objectification, issues of seeing and power, etc. constructed throughout the history of visual arts. The portrait work of Heloise and Marianne in the film deconstructs the formula of 'a male painter as a viewer and a female model who gazes at herself through the male gaze' and turns the gaze into an interactive process of giving and receiving. The process of exchanging gazes is sealed with a nude painting in which Marianne's face is superimposed on Heloise's body. This overturns the nude painting as the dominant form of engraving the male audience's position in the image through the stylization of the viewing method in the history of Western painting with the erotic gaze of a lesbian in an instant.

• 월간 기계설비
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• s.320
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• pp.66-69
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• 2017

매년 사업주와 근로자로부터 상담한 내용을 돌아보면 우리 사회 노동시장의 현안이 무엇인지, 인권수준은 어떠한지, 노동행정의 방향이 어떠한지를 확연히 체감하게 된다. 그 중 하나가 육아휴직제도이다. 20년 전만 하더라도 육아휴직은 거의 허용되지 않았다. 결혼 또는 임신하면 퇴직이 관행이던 시절이었다. 관행에도 불구하고 임신한 근로자가 퇴직하지 않으면 출 퇴근이 어려운 지방으로 배치전환하거나, 직무를 변경하고, 담배연기 가득한 방 가운데 여성근로자를 근무시키는 비인간적인 처사도 행해졌다. 2~3년 전만 하더라도 "우리 회사는 육아휴직은 안된대요. 그럴바엔 그만두래요. 아이 맡길 곳도 만만치 않은데 어쩌면 좋아요"라는 여성근로자들의 상담이 한달에도 몇 건씩 쏟아져 나왔었다. 초기 여성노무사가 소수이다 보니 워킹맘들의 노동법률상담을 할 기회가 많았다. 때론 사업주들을 설득하고, 중재하고, 처벌조항을 들어 압박하기도 하면서 육아휴직을 권장했지만 기존의 관행과 문화가 일시에 변화하기는 어려운 일이다. 여성의 경제활동율이 늘어나고 출산율이 줄어들면서 정책적으로 출산 및 육아휴직을 장려하는 정부의 감독행정 강화, 그간 노동계 및 시민사회단체의 노력 등으로 인해 법률에 규정된 육아휴직제도가 비로소 현실적으로 보장되어가고 있음을 목도한다. 이즈음에 육아휴직자의 연차휴가 사용, 퇴직금, 육아휴직급여 등에 대한 문의가 많은데 그만큼 육아휴직자가 늘어났다는 것을 반증하는 결과이다. 따라서 이번호에서는 출산휴가 및 육아휴직자들의 연차휴가 사용과 퇴직금 산정방법, 출산 육아휴직급여에 대해 알아보고자 한다.