• Journal of Digital Convergence
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• v.17 no.10
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• pp.439-446
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• 2019

Feminism on the theme of gender equality is emerging as an important issue in the overall Korean culture. Feminism is not only a level of claiming or advocating women's rights, but an essential subject of gaze and thought, not a distorted, artificially portrayed image of women distorted or typified in a story created by men in the past It is a film that explores the problem of the individual's life in society fundamentally. Jun Koeun's movie' 'micro-habitat'(2018) 'expresses a feminist theme that shows a strong self - selection and transcendental thinking in male - oriented stereotypes and inequal social structure. The film, which focuses on the public insight into society and the enhancement of the ideal human being from the viewpoint that the public film should lead the educated enlightenment character that raises the broad insight into the world and lead the mature social culture, I think it will play a big role.

• Journal of Convergence for Information Technology
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• v.7 no.3
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• pp.127-137
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• 2017

Sally Potter's movie, Orlando is a bold re-make of Virginia Woolf's classic novel, Orlando: A Biography, in which an English nobleman survives 400 years - as a man and then a woman. This paper focuses on a study of the film of Orlando in light of the feministic view. In Woolf's gender-bending, time-traveling novel, Orlando, Woolf probes the ideology of patriarchal society through an androgynous persona. Sally Potter's adroit revision of Woolf's novel not only duplicates Woolf's Orlando but it also catches Woolf's feminism by using cinematic expertise. The film is incredibly true to Woolf's spirit. The most explicit changes were structural so the storyline was simplified. Thus Orlando gives us a license to travel freely from a man to a woman. In short, Orlando is not about feminism but the unity and harmony of male and female.

• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.9
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• pp.916-927
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• 2012

In the $21^{st}$ century, woman leaders are able to influence society through improved social status and economic power. From 1980-1990 there was a rapid global social development of feminism and improved media perceptions. The progression of this process is reflected by female characters in feminism films that included a new dress style. The power suit emerged in the U.S.A of the 1980s, as a dress code that showed the workplace uniform of a professional woman and spread to Korea as an influential style. This study defines the different and similar aspects in the development of women's position and the role involved in a structural background through a comparison of the socio-cultural meaning of the power suit expressed in American and Korean feminism films. For analysis, this study chose American films in the 1980s and Korean films in 1990s that fulfilled elements about feminism films. Subsequently in American feminism films, the power suit expressed an equal authority with men, strategic use of femininity according to task type, and a dissipation of symbolic effects like a rich look. In Korean feminism films, the power suit expressed an end of femininity like female transvestite, independent female images with the masculinization of appearance, and a mix of new and traditional styles.

• Smart Media Journal
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• v.12 no.1
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• pp.102-111
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• 2023

As one of the image symbols, the second frame has rich symbolic metaphor. In previous studies, second frames are mostly presented in physical forms such as doors, windows, but in <The Power of the Dog>, there are various forms of second frames, providing more types for the study of second frames. Panofsky's Iconology has put forward a rigorous research method on how to interpret the meaning of image symbols in the picture. This study aims to use Panofsky's Iconology to analyze the second frame in <the Power of the dog>. The purpose is to expand the methodology of film image research and break through the problem that the Iconology analysis of film image stays in narrative analysis (iconographical analysis). It can be seen from the results of this study that the second frame has different visual presentation according to the requirements of narrative. In the narrative of the film, it symbolizes the depressed tone of the film and the stressful relationship between different characters. What director Campion wants to show through the second frame is that in the film industry where the problem of women is getting better, the motif of feminist film creation has changed from the expression of female appeals in binary opposition to the expression of the appeals of diverse groups in "decentralization."

• (The) Research of the performance art and culture
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• no.40
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• pp.37-69
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• 2020

This study was designed to investigate the characteristics, aesthetics, similarities and differences through the flow of Korean female movies. In order to carry out this study, four movies with representations of each age had to be selected. These four films are respectively Sweet Dream produced during the Japanese colonial period, Madame Freedom which prompted the debate on feminism in the 1950s, The Silver Stallion Will Never Come which combines the devastated lives of women in the 1990s with anti-malevolent views, and A Good Lawyer's Wife which presents a futuristic selection of Korean feminist films. Especially, these works are noteworthy in that they guarantee the typicality and representative of Korean films in each period. Based on this, two common motifs appearing in these works have been intensively studied. One is a 'cage' motif that symbolizes women's detention and the other is a 'mirror' motif that women need to be aware of their situation and check the current situation. Korean women's films have not only shared some of the motifs of 'Cage' and 'Mirror', but also have focused on conveying the author's message that ultimately aimed at linking these motifs.

• English & American cultural studies
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• v.17 no.2
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• pp.1-27
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• 2017

My aim in this paper is to provide a clear view of Victorian gender ideology and highlight the role played by Browning's dramatic monologues in the challenge against the strict patriarchal codes of the era. Laura Mulvey's Male Gaze theory in cinema is especially useful for understanding Browning's most well-known dramatic monologues, "Porphyria's Lover," and "My Last Duchess," because these poems are structured by polarities of looking and being looked at, the active and the passive. In her 1975 essay "Visual Pleasure and Narrative Cinema", Mulvey introduced the second-wave feminist concept of "male gaze" as a feature of gender power asymmetry in film. To gaze implies more than to look at – it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze. She declares that in patriarchal society pleasure in looking has been split between active/male and passive/female. Browning's women are subject to the male gaze, but they refuse to become the objects of a scopophilic pleasure-in-looking. Porphyria and the Duchess don't exist in order to satisfy the desires and pleasures of men. They reveal themselves as an autonomous being - reserved in Victorian gender dynamics for men. Mulvey advocates 'an alternative cinema' which can challenges the male-dominated Hollywood ideology. It is possible to say that Browning's dramatic monologues correspond to Mulvey's 'alternative cinema' because they show a counterview in terms of the representation of woman against the Victorian patriarchal ideology.

• Korean journal of communication and information
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• v.43
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• pp.385-426
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• 2008

This paper focuses on how international marriages among Asians have been represented by the Korean media. Due to globalization, the so-called 'ethnoscape' has changed, and so ethnicity or racial identity within the boundaries of the nation-state changed. The recent diaspora of Asian women into Korea through international marriages has reflected how globalization has proceeded at a regional or local level. This paper attempts to analyze Koreanmedia discourses on the Asian female diaspora. This study analyzes what kind of generic forms TV dramas, other shows(TV reality programs, TV journalistic programs), movie and internet have employed to represent international marriages and how they have portrayed the subjectivities of the Asian female diaspora. This study discuss how this representation has been contested by the 'realities' of their international marriages. By examining how the Korean mainstream media have dealt with the conflicting issues of the Asian female diaspora, this paper intends to look critically at how local discursive practices have substantiated the changing ethnoscape. As a result of the study, this paper can find international marriages among Asians have been represented by Korean media still patriarchal system in male-oriented society. The otherness of Asian women justify the strong work of household affairs, and so justified life is standardized 'a kind of daughter- in-law', 'a complaisant daughter-in-law' in the process of migration. Also the otherness of Asian women standardized 'a victor' or 'a harmer' through international marriage of money that commercialized 'sexuality'. After all Korea media discourse on Asian women's international marriage, the gender issues on it have not been focused on a serious level.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.429-462
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• 2019

This paper argues how the concept of melodrama can be articulated with the Affect Theory and Posthumanism in relation to animal or environment representation which have emerged as the new topics of the recent era. The argument will be made through the discussion of Agustin Zarzosa's book, Refiguring Melodrama in Film and Television: Captitve Affects, Elastic Sufferings, Vicarious Objects. Using a genealogical approach, the book revisits the notion of mode, affect, suffering (hysteria), and excess which have been dealt with in the existing studies of melodrama. In chapter one, he broadens the concept of melodrama as a mode into the means of redistribution of suffering across the whole society in the mechanism of the duo of evil and virtue. It is the opposition of Brooks's argument in which melodrama functions as the means of proving the distinction between evil and virtue. Chapter two focuses on the fact that melodrama is an elastic system of specification rather than a system of signification, with the perspective of Deleuzian metaphysics. Through the analysis of Home from the Hill (Vincente Minnelli, 1959), this chapter pays attention to an 'affect' generated by the encounters between the bodies and the Mise-en-Scène as a flow not of a meaning but of an affect. Chapter three argues that melodrama should reveal an unloved (woman's) suffering, opposing the discussion on the role of melodrama as the recovery of moral order. Safe (Todd Haynes, 1995), dealing with female suffering caused by the industrial and social environment, elaborates on the arguments on melodrama in relation to female hysteria with ecocritical standpoints. The rest of the two chapters discusses the role of melodrama for the limitation and extension of the notion of the human through 'animal' and 'posthuman' melodrama. It argues that the concept of melodrama as 'excess' and 'sacrifice' blurs the boundary between human and inhuman. In summary, although the author Zarzosa partly agrees with Peter Brook's notion of mode, affect and sufferings,he elaborates the concept of melodrama, by articulating philosophical arguments such as Deleuzianism, feminism, and posthumanism (Akira Lippit and Carry Wolf) with the melodrama. Thefore, Zarzosa challenges the concepts of melodrama led by Brooks, which had been canonical in the field.