• Title/Summary/Keyword: Korean Movies

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A Study on the Fantastic Trend of Korean Movies in the late 90s : Focused on Kim Giduk's Bad Guy (90년대 말 한국영화의 환상성 경향 연구 - 김기덕의 <나쁜 남자>를 중심으로)

  • LEE, Jihyun
    • Trans-
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    • v.4
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    • pp.87-109
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    • 2018
  • The genres of fantastic of Korean films created in the 90s are diverse. The fantastics of these works are not manifested only in 'Ghosts' movies. For example, If the film Mystery Of The Cube, which is based on the mystery of Lee Sang, has a story of structuralist fantasy, we can say that a movie like Tell Me Something has a psychologically conventional fantastic. This study examines the fantastic of contemporary Korean films through 'completion of allegory based on realism'. For this, we borrows the fantastic concept of Etienne Souriau. In some films, fantastics can be found directly in the developing nature. In this case, the human being who justifies their domination of nature by upgrading their position as the objectifying subject of nature becomes 'alienated' in return. The notion of this alienation in film narratives is often revealed through allegories, particularly in the manifestation of fantasy by Étienne Souriau in the early 'personal experience'. Kim kiduk's film is a representative example of allegorizing elements of society through individual experience. Focusing on Kim Giduk's Bad Guy, this essay analyzes the process in which fantastic films of Korea in the 90s build up aesthetic fantastic through imitation of society.

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Hollywood in Print -Movie Programmes of a Korean Theater in Ethnically Segregated Kyǒngsǒng in the 1920s and the Reception of Hollywood Prestige Pictures (활자와 이미지로 읽는 할리우드 -1920년대 조선극장의 영화관 프로그램과 미국 '특작'영화 경쟁)

  • Ahn, Sejung
    • Journal of Popular Narrative
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    • v.27 no.1
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    • pp.53-98
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    • 2021
  • This paper examines the ways in which Hollywood feature films produced and widely circulated with the establishment of the studio system was consumed in the ethnically segregated Korean movie theaters in Kyǒngsǒng in the 1920s. Focusing on how those theaters appropriated what Hollywood represented, this paper has three objectives. First, from a historical and economic perspective, I will historicize the emergence of so-called prestige pictures and how movies became a branded product in that process. Second, I will also loot at how Chosǒn Theater, one of the earliest movie theaters in the Korean-resident area in Kyǒngsǒng who sought to be a prestigious movie palace actively exploited Hollywood brand, by foregrounding its Paramount connection, in particular. Lastly, through a close reading of weekly programmes and handbills, I will examine how these promotional print materials, as an intermediating medium, helped to supplement the audiences' viewing of Hollywood movies while creating loyal audiences.

Square and Court -Social Imagination of Korean Cinema in Blacklist Era (광장과 법정 -블랙리스트 시대 한국영화의 사회적 상상력)

  • Song, Hyo-Joung
    • Journal of Popular Narrative
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    • v.25 no.4
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    • pp.159-190
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    • 2019
  • This paper aims to examine to the political unconsciousness of social movies that have caused social repercussions in the 2010s, and to study the social imagination of Korean films at that time. Korean Movies such as (2013), <1987>(2017) and (2017) reflect the ethos of civil society based on common sense and justice. The epic structure was the same as that of ordinary citizens, who move toward a public space (court, square) after awakening their political correctness. More than anything else, the fact that such films were based on "a historical fact" could have been a strategy to avoid censorship in the era of the blacklist. In these social films, courts and squares have become places for democracy. The conservative government of the time was tired of anti-government resistance and the politics of the square. Thus, films from directors and producers blacklisted were difficult to produce. That's why the court in the movie during this period could become a symbolic proxy for the "legitimate" reenactment of the politics of the square, which was subject to censorship and avoidance by the regime of the time. Meanwhile, the square has gradually become the main venue for political films that advocate "historic true stories." The square of the 1980s, which appeared in the movies, will be connected to the Gwanghwamun candlelight square that audiences experienced in 2017. Furthermore, it was able to reach the concept of an abstract square as an "open space for democracy." At the foundation of these works is a psychological framework that equates the trauma of the failed democratic movement of the 1980s to the trauma of the failed progressive movement of the 2010s. Through this study, we were able to see that social political films in the 2010s were quite successful, emphasizing "political correctness" and constitutional common sense. But they also had limitations as "de-political popular films" that failed to show imagination beyond the censorship of the blacklist era.

The Study of Color Images in the Eastern and the Western Culture -A Comparison between Early 20th Century Clothes and the Reinterpretation in Modern Film Costumes- (20세기 전반 동.서양의 시대색에 관한 비교 연구 -시대 복식과 현대 영화 의상에서의 재현비교를 통해-)

  • Yun Ji-Young;Ro Ju-Hyun
    • Journal of the Korean Society of Costume
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    • v.56 no.4 s.103
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    • pp.108-123
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    • 2006
  • This Study is about the color images oi clothes in the early 20th century in the Eastern and Western culture and the recreation of this color images through modern costume design in film. The aim of this study is to show how early 20th century color has born reinterpreted through present film costumes and how different cultural perspectives can influence color images. For the purposes of this study, 30 pictures of clothing, representative of the early 20th century, as well as films which have been internationally recognized for their costume design and strong cultural identity('Farewell M) 'Concubine', 'Raise the Red Lantern', 'Chicago' and 'The English Patient') were chosen and analyzed. The color image of these photographs and scenes from the movies were divided by Pantone Solid Chips and categorized by color groups such as red, orange, yellow, green, blue, violet, neutral and metallic. The analysis results of the color images in the early 20th century showed that the red group was used a lot in both cultures and the orange group was more often used in the West. In regards to the yellow group, goldish yellow were commonly used in the West but pale yellow was preferred in the East. The green group more used In the West but the blue group appears more in the East. Also, there were differences in color combination, texture and technique which demonstrates different cultural color recognition and association. In the case of film color image, present color image was added to past color image. In the West, color was used as a tool for visualizing the state of characters' mind and the mood of movies' story but in the East color image was intended to make the character stand out by changing the value and chroma. By comparing the color image of clothes from the early 20th century and color image from film in the West and the East, it is possible to analyze the cultural symbolic image of color. This study is one of first trials to analyze the cultural differences in rotor images and their symbolic meaning. Thus, further studies should persue to find out the influence of culture on the rotor image in terms of specific quantity and quality.

A Study on the Current Status of High School Students' Exposure to Pornographic Materials (고등학생들의 음란 영상매체 접촉 실태)

  • Kim Han Sook
    • Journal of Korean Public Health Nursing
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    • v.16 no.1
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    • pp.45-63
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    • 2002
  • The purpose of this study is to understand the current status of high school students' exposure to pornographic materials as well as to provide basic data to develop sex education programs. This study was conducted through a self-administered questionnaire survey of 774 students of six high schools in Seoul, three boys' and three girls' respectively, from August 22 to August 25, 2000. This study shows that high school students' exposure to pornographic materials such as CD-ROMs, internet, video tapes and adult movies has become very serious. The results of this study are as follows. 1. Among the students surveyed, $23.5\%$ of them currently has opposite-sex friends, while $42.2\%$ used to have and $34.2\%$ has never had opposite-sex friends. 2. $55.3\%$ of the students pick up their sexual knowledge from their friends, followed by mass media $(47.5\%),\;school (21.1\%),\;adult\; magazines (17.1\%)\;, internet (14.1\%)$, pornography visual $materials (11.5\%),\; sexual\; books (3.6\%)$ and pornography printed $materials (2.4\%).$ 3. Regarding the frequency of sexual education taken in school, $54.2\%$ of the students answered 'often', while $37.6\%$ answered 'almost none', 'several times' $(4.4\%)$, 'never' $(2.9\%)$ and 'frequently' $(0.9\%)$, respectively. Regarding sexual education at home, $42.2\%$ answered 'almost none', followed by 'never' $(36.3\%)$, 'often' $(16.3\%)$, 'several times' $(3.3\%)$ and 'frequently' $(1.8\%)$, respectively. 4. $68.2\%$ of the students have been exposed to adult movies, followed by pornography videos $(60.1\%)$, internet chatting $(50.2\%)$ and pornography computer diskettes $(38.0\%)$. 5. The degree of exposure to pornographic materials of boy students is much higher than that of girl students. 6. It appears that there is an interrelation between the kind of schools and the degree of the students' exposure to pornographic materials. 7. The higher the students' grade is. the more they have been exposed to pornographic materials. 8. It shows that there is an interrelation between the students' academic performance and the degree of their exposure to pornographic materials. 9. There is also an interrelation between the amount of students' pocket money and the degree of their exposure to pornographic materials. 10. There is an interrelation between the degree of their adaptation to school life and the degree of their exposure to pornographic materials. 11. It appears that there is an interrelation between their parents' relations with them and the degree of the students' exposure to pornographic materials. 12. There is a significant difference in the degree of their exposure to pornographic materials in accordance with their residential area. 13. There is also a significant difference in the degree of their exposure to pornographic materials in accordance with the average income of their families. 14. There is also a significant difference in the degree of their exposure to pornographic materials in accordance with the mean sexual education at home.

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Analysis of the Realistic Aesthetic Features of the Movie "Parasite" (영화 <기생충>의 현실주의 미학적 특징 해석)

  • Shuai, Wang
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.8
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    • pp.151-156
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    • 2019
  • In recent years, the Korean realistic theme of the film momentum gradually rising. Realistic films do not stick to the business and market, and do not simply cater to the audience's needs for watching movies. They reflect social violence and cruel reality, allowing the audience to observe the structural contradictions in reality and think about the direction when watching movies. At the recent cannes film festival, "parasite" won the top prize palm in cannes by an overwhelming margin, with the highest score of 3.3 issues. Although this film is positioned as a thriller with comedy elements, it presents the opposite life images of Korean classes to the audience in a parasitic way, which not only expands the possibility and artistry of realistic film aesthetics, but also enhances the appreciation of the film and gives play to its own aesthetic value. Focusing on the technical and literary nature of the film, and having a high degree of attention to real life, it is an excellent work that tells about class opposition and thinking about reality. This paper considers and analyzes the content, form and creation method of parasite, and discusses the continuous exploration and attempt of realistic film to image language under the demand of market and system, evolving into new aesthetic expression.

'Han of the Class' based on the Relationship between Character and Non-Character Symbols - on the Film of Bong Joon-ho - (인물 기호와 비인물 기호 관계를 바탕으로 한 '계급의 한' -봉준호 영화를 중심으로-)

  • Song-lin Zhao;Yoojin Kim
    • The Journal of the Convergence on Culture Technology
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    • v.10 no.2
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    • pp.323-331
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    • 2024
  • The concept of 'Han' is a psychological characteristic formed by Koreans through long-lasting national hardships. It has deeply influenced every Korean as a form of collective unconscious and has merged with various forms of art over time. Director Bong Joon-ho's works, rich in social consciousness, symbolically visualize sensitive issues like social class, presenting harsh satire on class oppression. His movies continuously emphasize human desires, the homogeneity of good and evil, insurmountable class barriers, and moral decay caused by desires. They produce a wealth of symbols filled with layers and power dynamics. Bong Joon-ho dramatically portrays and directs various forms of symbols. The metaphorical symbols in his movies provide a unique research value for delving into the deeper meanings of the films.This study examines the theme of 'class Han' in six of Bong Joon-ho's films, exploring the 'Han culture' of Korea. It applies semiotic concepts by categorizing into character and non-character symbols for an in-depth analysis of the films. The representative works from the late 1990s to the late 2010s articulate the class layers of the 'visible' and the 'invisible' through a blend of realism and surrealism. The study analyzes Bong Joon-ho's films in the sequence of 'satire-exposure-hope', examining the culturally critical nature of 'Han culture' on class and its psychological and cultural impact on the general public.

Healing Effect of 'Creative Writing' on Individual and on Our Age - Focused on the 'Man of Darkness (Vampire)' Symbol - ('창조적 글쓰기'가 개인 및 시대에 미치는 치유적 작용 - '어둠의 남자(Vampire)' 상징을 중심으로 - )

  • Kye-Hee Kim;Ki-Won Kim;Eun-Seun Han
    • Sim-seong Yeon-gu
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    • v.28 no.1
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    • pp.1-49
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    • 2013
  • This article started with 'encounter'. Both authors met around the middle of February and discussed the subject for the inhospital conference presentation scheduled at the break of June. Having conversation like "Movies similar to fairytales heard from childhood are standing out conspicuously among commercial films which are attracting audiences and receiving fervent response these days. This phenomenon is marvelous and mysterious." together, and sharing this and that, the conversation turned naturally to 'Bram Stoker's Dracula', 'Series of Twilight', and 'Warm Bodies', both authors found out the fact that we saw these movies in common with propound impression. Feeling our hearts beating high, bit of fear and hesitation followed simultaneously at the moment when both of us encountered the idea to choose subject of conference presentation related to this and expressed one in words. While preparing for the conference, presenting to others, and having discussion with the audience, our hearts have been filled with Presentation was finished after active discussion beyond fixed hour and it also brought audience (among those present) to show strong emotional response both positively and negatively. At first, we just had a thought to put aside the content of presentation, but we felt lack of something else, lingering in our minds. We finally decided to accomplish our work into an article leading to submission, based on the advice and recommendation from one of the audience. This article is a small 'creative writing' born by sharing both authors' passion and enthusiasm. In the first part of this article, we have introduced the dream of 31-year-old woman's which led to the 'creative writing' and spotlighted her personal life, before and after the dream. In the second part, we have examined the consequence (way of realization) and meaning of creative impulse shown from or experienced from personal unconsciousness (dream, fantasy) together. Creative impulse shown from the individual appeared to bring creative transformation of individual personality through the process of 'introversion'. Otherwise it also appeared to be delivered as a masterpiece through 'creative writing' or from the process of 'extroversion'. Sometimes both consequences happened at once. We tried to examine and interpret the dream of 31-year-old woman's, which was introduced in the first part of this article, that is to say, the dream of 'Stephenie Meyer's, the author of the 'love between vampire boy and ordinary human girl' themed novel 'Twilight Series', in a psychoanalytic perspective. In the third part, highlighting individual dreams and three different movies 'Bram Stoker's Dracula', 'Twilight Series', and 'Warm Bodies', we found the transformation of symbol 'Man of Darkness, vampire' seen in each individual dreams and in some specific popular arts, such as novels and movies, receiving fervent response from people. We also found love between this symbol and humane woman, bearing fruit together with very impressive change shown in the attitude of 'Man of Darkness' (vampire)'s conscious ego and mutual relationship pattern. We contemplated this phenomenon, the reason why these events happen, and what kind of association presents among these events, individual, and this era and discussed the effects on individuals and this era, at present. 'Creative impulse', originated in the deep structure of human mind is realized as a 'transformation of individual personality' or masterpiece through artistic creation. If it has a chance to make a match with this era, shared by a lot of contemporary people, it also appears to bring positive effect as healing and salvation to each individual or to each era. From this article, we mainly highlighted positive and healing aspects of individual 'creative impulse'. We hope to deal with the negative consequences and their reason coming from 'creative impulse', if the occasion arises, in the future with a new article.

New Implementation and Test Methodology for Single Lens Stereoscopic 3D Camera System (새로운 단일렌즈 양안식 입체영상 카메라의 구현과 테스트 방법)

  • Park, Sangil;Yoo, Sunggeun;Lee, Youngwha
    • Journal of Broadcast Engineering
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    • v.19 no.5
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    • pp.569-577
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    • 2014
  • From the year 2009, 3D Stereoscopic movies and TV have been spotlighted after the huge success of a movie called "AVATAR". Moreover, most of 3D movies & contents are created by mixing real-life shots & virtual animated pictures, such as "Robocop 3", "Transformer 4" as shown in 2014. However, the stereoscopic 3D video film shooting with a traditional stereoscopic rig camera system, takes much more time to set the rig system and adjust the system setting for proper film making which necessarily resulting in bigger cost. In fact, these problems have depreciated the success of Avatar as decreasing demand for 3D stereoscopic video shooting. In this paper, inherent problems of traditional stereoscopic rig camera system are analyzed, and as a solution for the problems, a novel implementations of single-lens optical stereoscopic 3D camera system is suggested. The new system can be implemented to a technology for separating two lights when even those lights passing through in the same optical axis. The system has advantages of adjusting the setting and taking video compared with traditional stereoscopic 3D rig systems. Furthermore, this system can acquire comfortable 3D stereoscopic video because of the good characteristics of geometrical errors. This paper will be discussed the single-lens stereoscopic 3D camera system using rolling shutters, it will be tested geometrical errors of this system. Lastly, other types of single lens stereoscopic 3D camera system are discussed to develop the promising future of this system.

A Study on the Costume and the inner Symbolic Meaning expressed in the Stanley Kubrick's film (스탠리 큐브릭의 영화 <로리타(1962)>에 나타난 의상의 상징성에 관한 연구)

  • Kim, Hye-Jeong;Lee, Sang-Rye
    • Journal of Fashion Business
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    • v.13 no.1
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    • pp.152-166
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    • 2009
  • By virtue of the development of mass media, the cinema, the composite space art taking the visual and auditory elements together, exhibits the actual life of the realities, thereby having a mutually close relationship to social, cultural and economic fields and continuing to generate the fashion code as well as reflecting the image of the times. Especially, fashion style in movies delivers their image and atmosphere and becomes the means for containing the personality, spiritual world and inner thinking of the characters in the movie and inducing its plot. Therefore, this study was intended to make clear that fashion fuses and shares with a diversity of genres such as movies and the like, becomes the cultural model that proceeds to create a new culture in relation to daily life and induces and presents the trend of contemporary fashion. For this purpose, this study attempted to analyze fashion style in the movie. Lolita is the fiction published by the Russian?American writer Vladimir Nabokov($1899{\sim}1977$) in 1954. It is the fiction that portrays the unethical love between Humbert, a middleaged man, and Lolita, a girl in her 10s. It was cinematized by the director Stanley Kubrick for the first time in 1962 and revived by the movie director Adrian Lyne in 1997. The character of Lolita has a younger look like a girl and looks immature in the movie directed by the movie director Stanley Kubrick and the movie director Adrian Lyne. But the character of Lolita has the commonality that she showed an incomplete female image of having a sexually freewheeling thinking. Thereby, this study sought to prove that the created fashion style of the character in the film not only became the clue to enable us to know the time and space background in the film but also helped the film develop effectively by performing a role of portraying the character in the movie. And it attempted to present that it becomes both the foundation for leading the fashion trend shown in contemporary fashion and the code of mass culture. Fashion style of Lolita in the movie appears to be reflected diversely in mass culture as well as fashion style in the contemporary times.