• 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.

• International Journal of Contents
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• v.7 no.3
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• pp.60-64
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• 2011

Jane Campion's is a well-known film for a number of reasons, such as for being an Oscar winner, for having been helmed by an emerging director from New Zealand, and for having the reputation of being a feminist film. In this paper, the first scene of was chosen to examine the heroine Ada's language in terms of the gothic genre. Ada is a dumb woman who lives in the era of man's language. She represents the women's social position in the Victorian era but has her own and unique language for communicating with the outside world. The first scene of introduces Ada's own language, using her fingers. Her fingers speak for her all the time instead of her mouth, and there is someone who can understand what she wants to say when all others cannot. How the film depicts Ada's language and how the first scene well summarizes the film's core are examined herein.

• 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.

• 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.

• International Journal of Contents
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• v.9 no.4
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• pp.86-91
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• 2013

The Piano, directed by Jane Campion in 1993, became a sensational movie with a special theme focusing on gender and sexual identity, when it won Palme d'Or in the Cannes Film Festival at the same year. Most of the critics discuss the representation of Victorian sexual repression in the colonial setting. But the critical acclaim tends to view the existence of the Maori people and the colonial setting as the backdrop of the narrative, although this colonial background is constructed as a medium to accelerate the release of the repressed passion. Regarding the race issue as a compelling discourse that gets left out of "feminist" accounts, this paper analyzes The Piano, focusing on both how the story of colonialism is constituted in the film and how the film represents ambivalent images of the Maori people, the native of New Zealand.

• English & American cultural studies
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• v.9 no.1
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• pp.297-321
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• 2009

The purpose of this study is to re-read the film of Dead Poets Society, specially focused on a feminist view. The film hides the strategy of recovering the traditional Patriarchal Society. At the beginning, the film resists the values of traditional society through John Keating. His unorthodox methods of teaching literature smack against the traditions of Welton Academy. Furthermore, he stresses on "Carpe Diem"—Seize the Day, the romantic values of free thinking, creativity, and individuality. The forces opposing Keating's philosophy are personified by Welton's rigid, old headmaster, Mr. Nolan, and the cruel, stubborn parent, Mr. Perry. Keating's romantic values are failed by their powerful, dominating attitudes. Effected by Keating's philosophy, Neil decides to pursue acting rather than medicine. He conflicts with his strict father. Finally frustrated by his authority, Neil commits suicide. And Keating is accused of inciting the boys to restart the Dead Poets Society, and at last he is fired. Keating and Neil are victimized by the Patriarchal society. Even though the film concentrates male characters at the all boys' school, it reveals the male angle of binary oppositions between men and women, subject and object, activity and passivity, presence and absence. In the film's dramatic conclusion, English class is now being temporarily taught by Nolan, who has the boys read from the very Pritchard essay they had ripped out at the start of the film. It symbolizes the triumph of the traditional logocentric society. However, influenced by Keating's unconventional attitudes, ultimately Welton Academy will be changed as it is embodied in its closing scene.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.81-94
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• 2007

Luxury, an expression of richness and expensiveness which can be achieved after putting in extensive an elaborate handworks, has been expressed in Hollywood movie costumes. The purpose of this thesis is to explore the characteristics of movie costumes of Hollywood studio designers, and to contemplate luxury expressed in movie costumes for such purposes, this thesis first provides the study on the luxury in movie costumes which has been reflected in fashion history, film studies and feminist theories, and to conduct a case study by analyzing photographic materials. The luxury expressed in movie costumes could be identified as expensiveness, exclusiveness, excess, and indulgence. In the movie costumes, expensive materials such as furs, jewelry, and decorations were used. Couture and custom-made costumes were the expressions of exclusivity. Also, the excessive luxury were the expression of bigness, scalelessness or extreme abundance. Indulgence in luxury is shown in use of uncommon characteristics, especially in gangster movie costumes.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.395-402
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• 2022

The film House of Hummingbird intersects Korean modern history and personal history through the eyes of a teenage girl, and closely explores how patriarchy and Korean capitalism leave traces and internal impressions on the growing up of the female subject. This film is a meaningful text in terms of showing what changes can occur when the subject is transformed from a boy to a girl in the narrative of growth and when a feminist point of view is entered. House of Hummingbird reveals the weakness of the patriarchal symbolic order through the gaze of a teenage girl in the episodic narrative composition, and also discovers the possibility of close relationships and bonds between women in the gaps. In particular, Yeong-ji, the main character girl Eun-hee's Chinese language school lecturer, is a new female character that has never been seen in Korean teenage films. As a result, in House of Hummingbird, we meet a new female subject who negotiates the pain of growth in a 'good enough' condition.

• 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 Journal of the Costume Culture
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• v.14 no.5
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• pp.739-754
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• 2006

Glamour, which stands for attractive physical feature with certain mystique, has been recognized by its superficiality and ephemerality in recent postmodernist aesthetics. The purpose of this study is to provide a comprehensive literature of glamour and to contemplate glamour look, thereby to establish the styles of glamour expressed in fashion. For such purposes, this thesis first provides the study on the glamour in design studies, film studies and feminist theories, and to inquire aesthetic values of glamour look, which has been reflected in fashion. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. (1) Luxury is an expression of expensiveness, ostentatiousness which can be achieved only after putting in extensive an elaborate handworks. (2) Excess is an expression of bigness, scalelessness or extreme abundance. (3) Masquerade, that is a technique of identity which deal with clothing as a metaphor, is an expression of mysterious attractiveness and theatricality. (4) Appropriation is an expression by way of taking something from different time and space. (5) Sensuality is an expression of indulgence of sexual pleasures. Lastly, (6) decadence implies eroticized violence and demoralization.