- Dongmyung-ro 170-28, Daekwang Jutaek 201, Namgu, Busan City, Republic of Korea, 48583
- 82-10-5324-8893
KwangWoo NOH
Kyungsung University, LINC3.0 (AI Media), Faculty Member
- Film and Media Studies, Korean film, Film, Korean cinema, South Korean Cinema, New Korean Cinema, and 21 moreKorean popular culture, Kpop, Korean Popular Culture, Hallyu, K-Pop, K-Pop, Hallyu, Korean Wave, Cinema and Media Studies, Media and Cultural Studies, Asian Film, Transnational Cinema, Korean Wave, East Asian Cinema, Youtube, Political Economy of Communication, Hallyu, Film Studies, Cultural Globalization, Cinema Studies, Film Genre, History of Media and Communication, Film industry, Installation Art, and Film Historyedit
- I was born in Seoul and raised in Kwangmyung city, a suburb of Seoul after my elementary school days. I co-founded ... moreI was born in Seoul and raised in Kwangmyung city, a suburb of Seoul after my elementary school days.
I co-founded the first New York Korean Film Festival 2001 for international promition of Korean film and pop culture. Since then, I have published my research works about South Korean cinema on academic journals such as Asian Cinema, Cineaste, Pacific Affairs, and so on as well as presented my researches at North American based international academic conferences such as Popular Culture Association (PCAACA), Association for Asian Studies (AAS), Society for Cinema and Media Studies (SCMS), Global Fusion, Union for Democratic Communication (UDC) and National Communication Association (NCA). Recently, I joined Asia-based international academic conferences such as AAS-in-Asia and Inter-Asian Cultural Studies as well as Korea-based national conferences .edit
For a long time, Hollywood has been interested in remaking films of different countries. On the level of transnational cinema, a remake can be considered as borrowing ideas, and adaptation of a work of one cultural background to another... more
For a long time, Hollywood has been interested in remaking films of different countries. On the level of transnational cinema, a remake can be considered as borrowing ideas, and adaptation of a work of one cultural background to another society and country in modern period of globalization. Hollywood tends to produce remakes of East Asian films in 21st century while it had done mostly of European films in the previous century. Among Hollywood remakes of East Asian films, the case of Oldboy is noticeable. Korean Oldboy and its US remake made by Spike Lee are two films which expressed the same feeling and pursue of revenge in the same circumstances, but at the same time two directors showed to spectators two different main heroes through different narration and heroes' different representation within the cinema. To discuss about two films, researchers of this article refer to concepts of puzzle film studies, which deal with complex non-linear narrative strategies in contemporary art films. This study examines and compares two films in terms of complex narrativity, evolution of main characters from an ordinary human to a monster, and the removal of monstrosity in the conclusion.
Research Interests:
Abstract From the 1970s, Westerns declined as a popular genre. Inside the genre of Western, the decline was revealed through the revision or deconstruction of the norms established in the era of the Classical Hollywood cinema. However,... more
Abstract From the 1970s, Westerns declined as a popular genre. Inside the genre of Western, the decline was revealed through the revision or deconstruction of the norms established in the era of the Classical Hollywood cinema. However, the revision progressed in the various levels: theme, representation of race, reinterpretation of the history, and allegorical comments on current situations. The main revision was the treatment of the binary code of Civilization and Wilderness. In the revisionist era, Wilderness was represented as a spiritual, a nostalgic, a consoling, and a Paradise Lost type utopia while Civilization was treated as a cruel, a violent, an inhuman and an indifferent dystopia. This paper examines more concretely the revision in the works of Clint Eastwood's postwar reconciliation and multicultural utopia in The Outlaw Josey Wales, Walter Hill's Native American's position in Geronimo: An American Legend, Maggie Greenwald's demasculinization of Western in The Ballad of Little Jo, and Jim Jarmusch's psychedelic ecologism in Dead Man. KeywordWestern, Revisionism, Clint Eastwood, Walter Hill, Maggie Greenwald, Jim Jarmusch, The Outlaw Josey Wales, Geronimo: An American Legend, The Ballad of Little Jo, Dead Man
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This research paper examines how the United States Army Military Government in Korea (USAMGIK) transformed the Korean film industry; ownership, distribution, and production from 1945 to 1948. After the WWII, USAMGIK tried to change South... more
This research paper examines how the United States Army Military Government in Korea (USAMGIK) transformed the Korean film industry; ownership, distribution, and production from 1945 to 1948. After the WWII, USAMGIK tried to change South Korea by removing Japanese militarism and establishing anti-communist regime. The film policy and film practices during the USAMGIK focused on Americanization, introduction of American popular culture. It transformed customs and practices of film distribution and release which were established before the end of WWII.
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In USA, Cold War and unemployment were social problems while TV and European auteurist films threatened Hollywood film business. Audeince were differentiated film audience into entertainment seekers and serious adult theme-viewers. These... more
In USA, Cold War and unemployment were social problems while TV and European auteurist films threatened Hollywood film business. Audeince were differentiated film audience into entertainment seekers and serious adult theme-viewers. These changes resulted in the change of cinematic expression of U.S. filmmaking. Western, once considered as the most typical U.S. film genre and the myth of U.S. nationbuilding, was no exception. This paper examines how these changes are articulated in the postwar western films, especially three John Ford"s films and two Anthony Mann"s. John Ford"s 〈My Darling Clementine〉 figured Wyatt Earp, the sheriff of multicultural town, Tombstone, as USA as an international superpower. 〈The Searchers〉 articulated the matter of postwar accommodation of war veterans as the Ethan Edwards who wandered to save his niece abducted by Indians. 〈The Man Who Shot Liberty Valance〉 raised the question of authenticity of traditional myth and legend. In Anthony Mann"s 〈Bend of the River〉, Glyn Mclintock, a guide for wagon trail for Oregon and a former outlaw during the U.S. Civil War, symbolized war-weariness. In〈Man of the West〉, Link Jones once engaged in robbery tried to break his dark past, war veterans’ break off with war experience.
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The Western, one of the most popular film genres, reached to the acme of its genre circulation in the 1950s. But, it showed the significant change in its narrative and convention gradually. It is regarded as the response to... more
The Western, one of the most popular film genres, reached to the acme of its genre circulation in the 1950s. But, it showed the significant change in its narrative and convention gradually. It is regarded as the response to socio-historical transformation - the change of film audience, US intervention in Vietnam and 1960s social turmoil. This research explores the change seen in narrative and convention and examines new element and sensibility. It is based on the analysis of some Western films of 1950s and 1960s, which produced by Budd Boetticher, Sam Peckinpah, Sergio Leone. The 1950s Westerns are divided into two tendencies. First, the main characters allegorize nation building in the West. Second, on the contrary, stories and events are rather personal, and West or landscape is provided as the spatial background of them. In the 1960s, the myth of nation building was not effective any more. Boetticher"s two films are relatively close to romance Westerns, Peckinpah"s two films are included in epic Western, but Ride the High Country is more romantic and more appealing for women. Leone"s film is an action film that emphasizes stylish gun fighting and deals with personal struggles and private feud. The transition from Boetticher through Peckinpah to Leone is the intensification of violence and the marginalization of woman. Individual stories are just personal stories(Boetticher), the stories of deterioration appear (Peckinpah), or the stories are told and revealed with different perspectives and unfamiliar style (Leone). In any direction, cinematic violence increases, romance disappears, and the genre becomes more and more masculine. Boetticher"s duel at a mountain, Peckinpah"s slow motion action, and Leone"s stylish gun fighting are influential to the next generation at the level of filmmaking. Though the genre itself deteriorates, the influence has remained in other genres and other films.
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Abstract From the 1970s, Westerns declined as a popular genre. Inside the genre of Western, the decline was revealed through the revision or deconstruction of the norms established in the era of the Classical Hollywood cinema. However,... more
Abstract
From the 1970s, Westerns declined as a popular genre. Inside the genre of Western, the decline was revealed through the revision or deconstruction of the norms established in the era of the Classical Hollywood cinema. However, the revision progressed in the various levels: theme, representation of race, reinterpretation of the history, and allegorical comments on current situations.
The main revision was the treatment of the binary code of Civilization and Wilderness. In the revisionist era, Wilderness was represented as a spiritual, a nostalgic, a consoling, and a Paradise Lost type utopia while Civilization was treated as a cruel, a violent, an inhuman and an indifferent dystopia.
This paper examines more concretely the revision in the works of Clint Eastwood's postwar reconciliation and multicultural utopia in The Outlaw Josey Wales, Walter Hill's Native American's position in Geronimo: An American Legend, Maggie Greenwald's demasculinization of Western in The Ballad of Little Jo, and Jim Jarmusch's psychedelic ecologism in Dead Man.
KeywordWestern, Revisionism, Clint Eastwood, Walter Hill, Maggie Greenwald, Jim Jarmusch, The Outlaw Josey Wales, Geronimo: An American Legend, The Ballad of Little Jo, Dead Man
From the 1970s, Westerns declined as a popular genre. Inside the genre of Western, the decline was revealed through the revision or deconstruction of the norms established in the era of the Classical Hollywood cinema. However, the revision progressed in the various levels: theme, representation of race, reinterpretation of the history, and allegorical comments on current situations.
The main revision was the treatment of the binary code of Civilization and Wilderness. In the revisionist era, Wilderness was represented as a spiritual, a nostalgic, a consoling, and a Paradise Lost type utopia while Civilization was treated as a cruel, a violent, an inhuman and an indifferent dystopia.
This paper examines more concretely the revision in the works of Clint Eastwood's postwar reconciliation and multicultural utopia in The Outlaw Josey Wales, Walter Hill's Native American's position in Geronimo: An American Legend, Maggie Greenwald's demasculinization of Western in The Ballad of Little Jo, and Jim Jarmusch's psychedelic ecologism in Dead Man.
KeywordWestern, Revisionism, Clint Eastwood, Walter Hill, Maggie Greenwald, Jim Jarmusch, The Outlaw Josey Wales, Geronimo: An American Legend, The Ballad of Little Jo, Dead Man
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This research paper examines how the United States Army Military Government in Korea (USAMGIK) transformed the Korean film industry; ownership, distribution, and production from 1945 to 1948. After the WWII, USAMGIK tried to change South... more
This research paper examines how the United States Army Military Government in Korea (USAMGIK) transformed the Korean film industry; ownership, distribution, and production from 1945 to 1948. After the WWII, USAMGIK tried to change South Korea by removing Japanese militarism and establishing anti-communist regime. The film policy and film practices during the USAMGIK focused on Americanization, introduction of American popular culture. It transformed customs and practices of film distribution and release which were established before the end of WWII.
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영화는 다양한 상징으로 구성되어있다. 영화 <마더!>는 대런 아로노프스키 감독이 에코페미니즘적 입장에서 기독교적 가치관과 여성성에 대한 성찰을 투영한 작품이다. 이 글에서는 <마더!>에 나타난 기독교적 상징성과 여성성을 바르트 기호학의 의미작용 체계를 이용해 분석했다. 그 결과, ‘마더’ 이외의 등장인물은 하나님, 예수, 카인과 아벨, 동방박사 등 구약의 창세기와 신약 4대 복음서에 등장하는 인물로 재현되고 있었으며, 주요... more
영화는 다양한 상징으로 구성되어있다. 영화 <마더!>는 대런 아로노프스키 감독이 에코페미니즘적 입장에서 기독교적 가치관과 여성성에 대한 성찰을 투영한 작품이다. 이 글에서는 <마더!>에 나타난 기독교적 상징성과 여성성을 바르트 기호학의 의미작용 체계를 이용해 분석했다. 그 결과, ‘마더’ 이외의 등장인물은 하나님, 예수, 카인과 아벨, 동방박사 등 구약의 창세기와 신약 4대 복음서에 등장하는 인물로 재현되고 있었으며, 주요 에피소드 역시 천지창조, 노아의 방주, 불의 심판 등으로 기독교적이었다. 기존의 성경 구약과 신약의 핵심적인 이야기는 남성의 영웅성과 가부장적 이데올로기 하에서 하위주체이자 남편에게 종속되고 성적 응시의 대상으로만 여겨지는 여성이었다. 그러나 대런 아로노프스키 감독은 기존의 기독교적 세계관을 그대로 답습하는데 그치지 않고, 에코페미니즘을 이용해 기독교적 이데올로기를 비판적으로 재해석했다. 예를 들어, <마더!>에서 ‘마더’는 대지의 여신 가이아를 상징하고 ‘그’를 비롯한 주변인들로부터 받는 고통을 주체적으로 극복하는 인물로 나타난다. 즉, ‘마더’는 창조주 ‘그’의 조력자이자 뮤즈일 뿐 아니라, ‘그’에게 없어서는 안 되는 존재이자, 이방인들로부터 ‘그’와 아들을 지켜내는 실천력이 있는 존재로 재현되었다. 이는 <마더!>가 기독교적이고 가부장적인 이데올로기 하에서 수동적이고 종속적인 여성상에 대한 문제를 제기하고, 에코페미니즘적인 시각으로, 자연과 인간 생명의 근원으로서 여성의 위치를 관찰하고 있음을 알 수 있다.
Film consists of various symbols. In his film, <Mother!>(2017), Darren Aronofsky projected his reinterpretation of Christianity and its male-centralism from eco-feminism. This paper examines how <Mother!> criticizes male-centralism in the Bible and suggests female contribution and experience by using Roland Barthes’s semiotics. In this film, main characters represent God, Jesus, Adam, Eve, Cain, Abel, and Three wise men. Main episodes remind of momentous tales such as Genesis, Noah’s Ark and the Flood, Crucification of Jesus, and Judgment Day. Traditional Biblical texts did not refer to women’s role and contribution in these tales. In this film, ‘mother’s suffers from ignorance, alienation, and sexualization. However, <Mother!> characterizes and emphasizes woman’s possible contribution by symbolizing ‘mother’ as Gaia, a goddess of earth and a symbol of nature in Greek myth. ‘Mother’ contributes to creation of world, which is implied by her rebuilding house. She also punishes crowd for their sin, greed, and cruelty with fire after her son is dead and cannibalized. Her nemesis suggests that she has aggressive character rather than passive and submissive one.
Film consists of various symbols. In his film, <Mother!>(2017), Darren Aronofsky projected his reinterpretation of Christianity and its male-centralism from eco-feminism. This paper examines how <Mother!> criticizes male-centralism in the Bible and suggests female contribution and experience by using Roland Barthes’s semiotics. In this film, main characters represent God, Jesus, Adam, Eve, Cain, Abel, and Three wise men. Main episodes remind of momentous tales such as Genesis, Noah’s Ark and the Flood, Crucification of Jesus, and Judgment Day. Traditional Biblical texts did not refer to women’s role and contribution in these tales. In this film, ‘mother’s suffers from ignorance, alienation, and sexualization. However, <Mother!> characterizes and emphasizes woman’s possible contribution by symbolizing ‘mother’ as Gaia, a goddess of earth and a symbol of nature in Greek myth. ‘Mother’ contributes to creation of world, which is implied by her rebuilding house. She also punishes crowd for their sin, greed, and cruelty with fire after her son is dead and cannibalized. Her nemesis suggests that she has aggressive character rather than passive and submissive one.
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For a long time, Hollywood has been interested in remaking films of different countries. On the level of transnational cinema, a remake can be considered as borrowing ideas, and adaptation of a work of one cultural background to another... more
For a long time, Hollywood has been interested in remaking films
of different countries. On the level of transnational cinema, a remake
can be considered as borrowing ideas, and adaptation of a work of one
cultural background to another society and country in modern period of
globalization. Hollywood tends to produce remakes of East Asian films
in 21st century while it had done mostly of European films in the
previous century. Among Hollywood remakes of East Asian films, the
case of Oldboy is noticeable. Korean Oldboy and its US remake made
by Spike Lee are two films which expressed the same feeling and
pursue of revenge in the same circumstances, but at the same time two
directors showed to spectators two different main heroes through
different narration and heroes' different representation within the
cinema. To discuss about two films, researchers of this article refer to
concepts of puzzle film studies, which deal with complex non-linear
narrative strategies in contemporary art films. This study examines and
compares two films in terms of complex narrativity, evolution of main
characters from an ordinary human to a monster, and the removal of
monstrosity in the conclusion.
of different countries. On the level of transnational cinema, a remake
can be considered as borrowing ideas, and adaptation of a work of one
cultural background to another society and country in modern period of
globalization. Hollywood tends to produce remakes of East Asian films
in 21st century while it had done mostly of European films in the
previous century. Among Hollywood remakes of East Asian films, the
case of Oldboy is noticeable. Korean Oldboy and its US remake made
by Spike Lee are two films which expressed the same feeling and
pursue of revenge in the same circumstances, but at the same time two
directors showed to spectators two different main heroes through
different narration and heroes' different representation within the
cinema. To discuss about two films, researchers of this article refer to
concepts of puzzle film studies, which deal with complex non-linear
narrative strategies in contemporary art films. This study examines and
compares two films in terms of complex narrativity, evolution of main
characters from an ordinary human to a monster, and the removal of
monstrosity in the conclusion.
Research Interests:
The Western, one of the most popular film genres, reached to the acme of its genre circulation in the 1950s. But, it showed the significant change in its narrative and convention gradually. It is regarded as the response to... more
The Western, one of the most popular film genres, reached to the acme of its genre circulation in the 1950s. But, it showed the significant change in its narrative and convention gradually. It is regarded as the response to socio-historical transformation – the change of film audience, US intervention in Vietnam and 1960s social turmoil. This research explores the change seen in narrative and convention and examines new element and sensibility. It is based on the analysis of some Western films of 1950s and 1960s, which produced by Budd Boetticher, Sam Peckinpah, Sergio Leone. The 1950s Westerns are divided into two tendencies. First, the main characters allegorize nation building in the West. Second, on the contrary, stories and events are rather personal, and West or landscape is provided as the spatial background of them. In the 1960s, the myth of nation building was not effective any more. Boetticher’s two films are relatively close to romance Westerns, Peckinpah’s two films are included in epic Western, but Ride the High Country is more romantic and more appealing for women. Leone’s film is an action film that emphasizes stylish gun fighting and deals with personal struggles and private feud. The transition from Boetticher through Peckinpah to Leone is the intensification of violence and the marginalization of woman. Individual stories are just personal stories (Boetticher), the stories of deterioration appear (Peckinpah), or the stories are told and revealed with different perspectives and unfamiliar style (Leone). In any direction, cinematic violence increases, romance disappears, and the genre becomes more and more masculine. Boetticher’s duel at a mountain, Peckinpah’s slow motion action, and Leone’s stylish gun fighting are influential to the next generation at the level of filmmaking. Though the genre itself deteriorates, the influence has remained in other genres and other films.
Keyword: Bud Boetticher, Sam Peckinpah, Sergio Leone, Seven Men From Now, The Tall T, Ride the High Country, Wild Bunch, For a Few Dollars More
Keyword: Bud Boetticher, Sam Peckinpah, Sergio Leone, Seven Men From Now, The Tall T, Ride the High Country, Wild Bunch, For a Few Dollars More
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Birth of Feminist Action Film :<Mad Max: Fury Road> Moonui PARK* (Master Student, Graduate School, Department of Journalism and Mass Communication, Korea University) Kwang Woo NOH** (PhD, Research Institute for Information and... more
Birth of Feminist Action Film
:<Mad Max: Fury Road>
Moonui PARK*
(Master Student, Graduate School, Department of Journalism and Mass Communication, Korea University)
Kwang Woo NOH**
(PhD, Research Institute for Information and Culture, Korea University)
Abstract
Action film has been traditionally considered as man’s genre. Action film has represented woman as an object to satisfy male viewer’s desire and fantasy. Feminist film criticism indicates that the image of female warrior or action heroine, who has appeared since 1960s, is constructed and revised in man’s existing power. This paper examines the possibility of feminist action film through <Mad Max: Fury Road>. Female characters in action films are endowed with power in male-dominant world, which makes it possible to inspect image and feminity in society. <Mad Max: Fury Road> does not follow the male-centered narrative structure of traditional action films. It provides female characters different from submissive and weak ones and female warriors of sexuality. In this context, <Mad Max: Fury Road> shows the possibility of birth of feminist action film.
Key word: Action film, feminist film, feminist action film, female character, Mad Max: Fury Road
:<Mad Max: Fury Road>
Moonui PARK*
(Master Student, Graduate School, Department of Journalism and Mass Communication, Korea University)
Kwang Woo NOH**
(PhD, Research Institute for Information and Culture, Korea University)
Abstract
Action film has been traditionally considered as man’s genre. Action film has represented woman as an object to satisfy male viewer’s desire and fantasy. Feminist film criticism indicates that the image of female warrior or action heroine, who has appeared since 1960s, is constructed and revised in man’s existing power. This paper examines the possibility of feminist action film through <Mad Max: Fury Road>. Female characters in action films are endowed with power in male-dominant world, which makes it possible to inspect image and feminity in society. <Mad Max: Fury Road> does not follow the male-centered narrative structure of traditional action films. It provides female characters different from submissive and weak ones and female warriors of sexuality. In this context, <Mad Max: Fury Road> shows the possibility of birth of feminist action film.
Key word: Action film, feminist film, feminist action film, female character, Mad Max: Fury Road
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The global success of PSY’s Gangnam Style was mediated through combination of YouTube and SNS. PSY’s success led into some communication scholars’ consideration of new international circulation of Korean pop culture (Korean Trend 2.0). In... more
The global success of PSY’s Gangnam Style was mediated through combination of YouTube and SNS. PSY’s success led into some communication scholars’ consideration of new international circulation of Korean pop culture (Korean Trend 2.0). In terms of global circulation of pop culture, it is noticeable how users appropriate YouTube channel beyond mere watching music videos and mere international circulation of Korean pop culture. The mode of fan’s activity and appropriation contributes to the expansion of the width and amplification of the volume of Korean popular culture as well. The circulation of pop culture was considered in the level of exchange of tangible commodities such as CD, DVD, and so on until the adoption of digital media and Internet. YouTube has brought new mode in which the international circulation of pop culture is mediated without exchange of tangible commodities but was amplified with the diffusion of network. This study grasps how the mode of users’ appropriation contributes to international circulation of pop culture through case studies of some K-pop music videos and international K-pop fans’ tribute activities. In terms of theoretical perspective, fandom studies will be examined. In terms of research method, the researcher adopts netnography, a participatory observation on network, to find the feature of fandom and its contribution to the international circulation of pop cultures.
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Andre Bazin called US Westerns of the 1940s and 1950s as ‘super westerns’. In the 1940s and 1950s after the Second World War, Cold War began on the international level, while once mobilized women needed to return to home for men once... more
Andre Bazin called US Westerns of the 1940s and 1950s as ‘super westerns’. In the 1940s and 1950s after the Second World War, Cold War began on the international level, while once mobilized women needed to return to home for men once engaged in war front in the US domestic level. In US film and media industry, Hollywood film business gradually lost ticket sales because television was introduced. The introduction of European auteurist films created and spreaded art cinema movement, which differentiated film audience into entertainment-oriented viewers and serious adult theme-viewers. These changes influenced the change of cinematic expression of US filmmaking. Western, once considered as the most typical US film genre and the myth of US nationbuilding, was no exception. Robert B. Ray called this tendency as ‘adult western’. This paper examines how these changes are articulated in the postwar Westerns, especially three John Ford’s films and two Anthony Mann’s. In John Ford’s <My Darling Clementine>, the postwar position of USA as an international superpower was figured as Wyatt Earp, the sheriff of multicultural town, Tombstone. In <The Searchers>, the matter of postwar accommodation of war veterans was articulated as the Ethan Edwards who wandered to save his niece abducted by Indians. <The Man Who Shot Liberty Valance> raised the question of falsehood of traditional myth and legend. In Anthony Mann’s <Bend of the River>, Glyn Mclintock, once an outlaw during the US Civil War, symbolized war-weariness while he led wagon train to Oregon. In <Man of the West>, Link Jones once engaged in robbery tried to break his dark past, which represented war veterans’ break off with war experience.
Keywords: Western, My Darling Clementine, Man of the West, Bend of the River, The Searchers, The Man Who Shot Liberty Valance, John Ford, Anthony Mann
Keywords: Western, My Darling Clementine, Man of the West, Bend of the River, The Searchers, The Man Who Shot Liberty Valance, John Ford, Anthony Mann
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For a long time, Westerns have not only been a main genre among Hollywood popular films but also represented distinctive U.S. popular culture. In this paper, I will examine six Western films in the era of silent cinema - The Great Train... more
For a long time, Westerns have not only been a main genre among Hollywood popular films but also represented distinctive U.S. popular culture. In this paper, I will examine six Western films in the era of silent cinema - The Great Train Robbery (1903), White Fawn’s Devotion (1910), The Battle of Elderbush Gulch (1913), Hell’s Hinges (1916), Tumbleweeds (1925) and The Vanishing American (1925). I will trace how each film exposes its own features: The Great Train Robbery and the establishment of Western narrative strategy in early cinema, White Fawn’s Devotion, The Battle of Elderbush Gulch, and The Vanishing American with the representation of the Native Americans and implication of imperialism and racism in the early Western films, and Hell’s Hinges and Tumbleweeds within the establishment of the binary code of East and West. Through this analysis, it will be revealed that the convention or basic feature of Western genre had been constructed before the establishment of classical Western during the era of the Classical Hollywood Cinema.
Keywords: Western, Binary code, Representation of Indigenous,The Great Train Robbery, White Fawn’s Devotion, The Battle of Elderbush Gulch, Hell’s Hinges, Tumbleweeds, The Vanishing American
Keywords: Western, Binary code, Representation of Indigenous,The Great Train Robbery, White Fawn’s Devotion, The Battle of Elderbush Gulch, Hell’s Hinges, Tumbleweeds, The Vanishing American
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It's a review on Han Sang Kim's 2022 book.
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This is a course syllabus.
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Class participants understand the feature and concept of contemporary film and television criticism and exercise criticism in this class. The topics are: narrative, genre, semiotics-ideological criticism, psychoanalysis, feminism,... more
Class participants understand the feature and concept of contemporary film and television criticism and exercise criticism in this class. The topics are: narrative, genre, semiotics-ideological criticism, psychoanalysis, feminism, post-colonialism, multiculturalism, queer, and auteurism.
Research Interests:
This course is designed to examine experimental film, independent film, alternative film, activist film, and avant-garde in relation to mainstream film. Research paper or short film will be submitted for the purpose of practice of... more
This course is designed to examine experimental film, independent film, alternative film, activist film, and avant-garde in relation to mainstream film. Research paper or short film will be submitted for the purpose of practice of critical cultural theories (course description on the homepage of Media studies)
However, under the situation that MFA course is not established in graduate school of Korea University, class participants do not need to make a short film as a final project. Who wants to make short films needs to discuss with class manager.
In Fall 2017, the course will be mainly on US case and Korean case. A case of other countries can be examined in final project.
However, under the situation that MFA course is not established in graduate school of Korea University, class participants do not need to make a short film as a final project. Who wants to make short films needs to discuss with class manager.
In Fall 2017, the course will be mainly on US case and Korean case. A case of other countries can be examined in final project.
Research Interests:
I designed this syllabus for consideration of international students as well as Korean students who are interested in Korean cinema. Since this class is open as English class, I added English texts, articles and movie titles.
Research Interests:
Basically it is a syllabus of Film Form and Analysis course in Korea. But I put contemporary Korean films for case studies because I consider Korean student are familiar with Korean films.
Research Interests:
Research Interests:
This course focused on understanding media, especially film industry, through the frame of political economy.
Research Interests:
In this photo-essay, I examined briefly how new film trends arose in rapid socio-political upheavals - Korean New Wave of the late 1980's and early 1990's with 1987 nationwide democratization movement and women's films of the late 2010's... more
In this photo-essay, I examined briefly how new film trends arose in rapid socio-political upheavals - Korean New Wave of the late 1980's and early 1990's with 1987 nationwide democratization movement and women's films of the late 2010's and early 2020's with 2016-17 protest. Then, I wrote brief history of women's film in South Korea. I contributed this article to ART TALKS session in Korean Film Festival Canada 2020: