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The remasculinization of Korean cinema /
Argues that although the last two decades of Korean history were a period of progress in political democratization, the country refused to part from a "masculine point of view" which is also mirrored in Korean cinema.
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Durham :
Duke University Press,
2004.
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| Colección: | Asia-Pacific.
E-Duke books scholarly collection. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- I. Genres of post-trauma ; 1. At the edge of a metropolis in A fine, windy day and Green fish ; 2. Nowhere to run: disenfranchised men on the road in The man with three coffins, Sopyonje, and Out to the world ; 3. "Is this how the war is remembered?": violent sex and Korean War in Silver stallion, Spring in my hometown, and The Taebaek Mountains ; 4. Post-trauma and historical remembrance in A single spark and A petal
- II. New Korean cinema auteurs ; 5. Male crisis in the early films of Park Kwang-su ; 6. Jang Sun-woo's Three "F" words: familism, fetishism, and fascism ; 7. Too early/too Late: temporality and repetition in Hong Sang-su's films
- III. Fin-de-siècle anxieties ; 8. Lethal work: domestic space and gender troubles in Happy end and The housemaid ; 9. "Each man kills the thing he loves": transgressive agents, national security, and blockbuster aesthetics in Shiri and Joint security area.