• Title/Summary/Keyword: 청년 영화

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Study on Chinese Youth Film Expression through Defamiliarization :Taking Us and Them(后来的我们) as Example ('낯설게 하기'를 통한 중국 청년 영화의 표현에 관한 연구 : 중국 영화 <먼 훗날 우리> (后来的我们)를 중심으로)

  • Zhang, Lin
    • Journal of Korea Entertainment Industry Association
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    • v.14 no.1
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    • pp.117-124
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    • 2020
  • Chinese youth films fall into the dilemma of continuous development after experiencing rapid development from 2013 to 2017. How to update the creative ideas and methods of the films, arouse the audience's interest in watching and stimulate a new aesthetic experience has become a focal point for the creators who concern about the Chinese film market. "Us and Them" is a successful youth film in 2018. Its creative practice proves that defamiliarization can provide theoretical and methodological basis for the creation of Chinese youth films. Therefore, taking the current situation of Chinese youth film as the research background, treating "Us and Them" as the research object, the defamiliarization of narrative discourse and narrative content used in the film are analyzed. First, the defamiliarization of narrative discourse composed of scenes, characters and plots makes the film "stand out" from the real world. Second, the defamiliarization of narrative content composed of metropolis adoration, self-identity and hometown affection makes the film "stand out" from the existing context. These methods of creation not only meet the needs of the contemporary, but also provide an effective reference for the creation of other youth films. Research will be needed to utilize the elements of defamiliarization through the analysis of the successful case in spite of the time change.

A Study On Succession and Re-writing of 'Black Film', American Youth Film Director Ryan Coogler - Centering on (2013), (2015), (2018) ('흑인영화(black film)'의 계승과 다시쓰기(re-writing), 미국 흑인 청년감독 라이언 쿠글러(Ryan Coogler) 연구: <오스카 그랜트의 어떤 하루(Fruitvale Station)> (2013), <크리드(Creed)>(2015), <블랙팬서(Black Panther)>(2018)를 중심으로)

  • Kang, Nae-Young
    • The Journal of the Korea Contents Association
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    • v.21 no.1
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    • pp.210-226
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    • 2021
  • The purpose of this study is to explore the American black film director Ryan Coogler and his cinema world. Coogler as a youth director directs three movies as (2013), (2015), (2018) from independence film to Hollywood film, and represents black people' life and racial discrimination base on his cultural identity. For this study, explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood black film history. He represents blackness and self-reflection as a black youth director, and successfully succeed to the tradition of 'Black Film' in American film history. He also turn white patriarchal ideology upside down in Hollywood. He inherits the tradition of 'Black Film' in American film history, and simultaneously tries to re-write black film tradition. Youth director Coogler is a symbol of 'New Hollywood Black Film Power' at the 21th.

A Study on the Hollywood Youth Film Director Damien Chazelle - Centering on (2014), (2016), (2018) (미국 할리우드 청년감독 데이미언 샤젤(Damien Chazelle) 연구 - <위플래쉬>(2014), <라라랜드>(2016), <퍼스트맨>(2018)을 중심으로)

  • Kang, Nae-Young
    • The Journal of the Korea Contents Association
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    • v.21 no.7
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    • pp.105-118
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    • 2021
  • The purpose of this study is to explore the American Youth Film Director Damien Chazelle and his cinema world. Chazelle as a youth director directs three movies as (2014), (2016), (2018) in Hollywood, and represents youth directors in Hollywood. For this study, adopt two research methodologies which are 'Auteurism' and 'culture studies', and explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood history. This study concludes that Chazelle is a 'Auteurism director of self-reflexivity' who has three things in common as 'narrative: success myth', 'mise-en-scene: Chazelle's world', 'self-reflexivity: Auteurism film directing'. Youth film director Chazelle is opening up the future of Hollywood as a 'Auteurism film of self-reflexivity' and the creative film directing of the youth generation.

Burning and The Ethical Subject (영화 <버닝>과 윤리적 주체)

  • Kwak, Han-Ju
    • Journal of Popular Narrative
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    • v.26 no.4
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    • pp.117-144
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    • 2020
  • The film Burning (Lee Chang-dong, 2018) is one of the most noted Korean films in recent years as a work that unfolds an elaborate narrative in a delicate visualization. This film is a multi-vocal text in which different types of characters appear and scattered objective facts and ambiguous subjective desires are intertwined, so it is a text that has room for diverse interpretations. This article attempts to read Burning as an ethical discourse centered on the protagonist Jong-su, noting that the film raises universal and significant ethical issues that transcend the specific social and historical conditions of a contemporary Korean youth. I would like to examine the situation in which Jong-su is facing and his reaction to it, above all, from the perspective of Jong-su's ethical awakening and leap forward. Jong-su, a young South Korean non-regular man living in the present, encounters and connects with Hae-mi and Ben and attempts to understand the mysteries of the world. His trajectory, which the film shows closely, inevitably intersects the social and historical dimension of confusion and frustration of a young man graduated from the Department of Creative Writing, the reality of family dissolution and the individual psychological dimension of the sudden disappearance of his lover Hae-mi. Burning is a magistrate film that depicts Jong-su as an ethical subject oriented toward 'communal togetherness' while confronting the world and exploring its mysteries despite all his unfavorable conditions, such as his social position of the precariat youth and the epistemological uncertainty of reality perception. It is read as a story of his painful growth, in which Jong-su is becoming a 'writer', who once was a helpless non-regular delivery worker.

A Study on the Use Pattern of Yun Dong-Ju in the movie (영화 <동주>(2015)에 표상된 윤동주 시 활용양상 연구)

  • Son, Mi-young
    • The Journal of the Convergence on Culture Technology
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    • v.5 no.2
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    • pp.59-65
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    • 2019
  • This study examines how cinematic texts are used in movies through Lee Jun-ik's 2015 film, and what narrative and visual effects are obtained through them. This film portrays poet Yun Dong-ju as a central figure and chooses to reconstruct his life. The movie, , used Yun's poetry as a device to maximize the lyricism of the film and to suggest a change in the fate of the character and the inside. In other words, uses Yun Dong-ju's poetry to aesthetically express the inner change of the characters in the film and the sensitivity of the film. Through this, I visualize Yun Dong-ju as poet Yun Dong-ju, a poet who was stuffed in literary books, as a normal literary youth. It is also a reminder of the weight of the reality that the present youth is experiencing and the problem of an individual living in history. In this respect, the movie is a major text that depicts the poetry and poetry of the time, and the age of poet through the media. 'Poetry' as the text of the text delivered with the image maximized the lyricism of the image and led to high aesthetic achievement. Through poetry and poetry, it can be regarded as the main text approaching the problems of history, individual, literature and reality.

Another 'Rural' Recreated in The Movie <Yin Ru Chen Yan> (영화 <먼지 속으로 사라지다> 에 재현된 또 하나의 '농촌')

  • Moon dae il
    • The Journal of the Convergence on Culture Technology
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    • v.9 no.3
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    • pp.377-383
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    • 2023
  • The movie <Yin Ru Chen Yan> is evaluated to reflect the rural reality of China's northwest region. Although the film also contained the farmer's unique sincerity and pure love, many problems were also raised. The specific issues raised are as follows. First, he accused young Chinese rural people who could not express their intention properly at the time of marriage.This can be said to be largely due to the lack of proper education, medical care, and welfare benefits for a long time. Second, he criticized the rural housing policy that deviated from reality. It warns that unilaterally providing apartments in the city without considering regional characteristics and farmers' situations could be counterproductive. In the movie, the main character abandoned livestock that he thought of and cared for with his family and did not move his residence to an apartment. Third, he criticized the materialism prevalent in rural areas. He criticized the phenomenon of not respecting a human being to solve everything with money and even to receive government housing compensation. In this sense, in order to solve the true Chinese Samnong problem, macro-promoted policies and micro-policies that can encompass some underdeveloped rural areas should also be implemented.

Performance Activities and Social Role of the Theater in Ulsan during the Japanese Colonial Period (일제강점기 울산지역 극장의 공연활동과 사회적 역할)

  • Kim, Joung-Ho
    • (The) Research of the performance art and culture
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    • no.42
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    • pp.107-146
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    • 2021
  • This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

An Analysis of the Meaning of Laughter by Comedians Hee-Gap Kim, Bong-Seo Koo and Young-Chun Seo : focusing on Korean Comedy Movies in the late 1960s (코미디언 김희갑, 구봉서, 서영춘의 웃음 의미작용 분석 : 1960년대 후반기 한국 코미디영화를 중심으로)

  • Seo, Kok-Suk
    • Journal of Korea Entertainment Industry Association
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    • v.15 no.8
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    • pp.75-89
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    • 2021
  • In this paper, the results of analyzing the meaning of laughter in comedy movies of the late 1960s, focusing on comedians, Hee-Gap Kim, Bong-Seo Koo and Young-Chun Seo, are as follows. First, the narrative laughter of the comedians represents the generational conflict between the lower class and the upper class, the gender conflict between men and women, and the frustration of reality. Second the mechanism of creating laughter of the comedians shows ridicule of the conservative older generation, revelation of the immoral upper class, and caricature of the frustrated lower class. Third, the practical aspect of the comedians' laughter reveals cracks in tradition and modern, gaps in economic inequality, and expression of prohibited desires. Therefore, comedians Hee-Gap Kim, Bong-Seo Koo and Young-Chun Seo in comedy movies of the late 1960s show the semantic effect of laughter of internal/external boundaries and optimistic world views through the closed opening of informal culture and the conflict of characters/performers.

Romanticism of Brotherhood, Affect of 1987 -A Better Tomorrow and Hong Kong-Korea Connection (형제애의 로망, 1987의 정동 -<영웅본색>과 홍콩-한국 커넥션)

  • Yi, Young-Jae
    • Journal of Popular Narrative
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    • v.27 no.1
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    • pp.301-338
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    • 2021
  • John Woo's A Better Tomorrow arrived at the turning point of Korean society between 1987 and 1988. The Hong Kong movie boom that started here reached its peak around the 1990s. What does this phenomenon mean? Hong Kong action films have functioned as an important resource for Korean young male subculture since the late 1960s. The audience of A Better Tomorrow matches the audience of previous Hong Kong films in a generational and gendered way. The fascination of Hong Kong action films by young Korean men from 1987 to 1991 has nothing to do with Hong Kong's political context. However, a certain affect is shared between Korean and Hong Kong audiences. It could be said to be the brotherhood within the struggling group. The affective economies of this fraternity embodies the broad solidarity of 1987, the solidarity of comrades seeking to resist the violence of the world. It also works on symbolic and practical gender bias. In other words, this loyalty is nothing but loyalty between the (male) brothers who are confronting the injustice of the world. This is the "translational possibility" of A Better Tomorrow.

A Study on Yi Sang Representation in Media -Focusing on the cinema and the drama (영상매체에 형상화 된 시인 '이상' 표상 연구 -영화 <건축무한육면각체의 비밀>, 드라마 <이상 그 이상>을 중심으로)

  • Son, Mi-young
    • The Journal of the Convergence on Culture Technology
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    • v.5 no.4
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    • pp.29-36
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    • 2019
  • Lee Sang's poems and his portraits are being used in various video media. Depending on the characteristics of the medium and genre, the representation of the poet or higher and his poems are selected and variations in different ways. In a modern era where literature communicates with various media, reviewing how a poet's portrait is shaped is also the process of reading what text wants to convey to the public through a single person. This study examined aspects in which representations of poets or higher were utilized in various image media, and compared and analyzed how poet aberrations are represented in each text. In particular, the discussion centered on the movie and the drama . In the movie , the above poem is used as a hidden puzzle. The film uses the popularly known 'genius' representation to track down Yi Sang's secret. Because of this, the film represents its ideal in a way that is faithful to the genre's custom of Thriller In comparison, the drama was about to re-emerge as a young man with a passion for the inner workings. The cynical attitude shown in the above text is also a reflection of the love for the nation and the times. These different typographical methods are worth noting in terms of the literary man's public perception of "Yi-sang" and the strategy of the new portrait attempt.