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Ce livre porte sur les rapports entre le Nouveau Cinéma sud-coréen et la société civile. L’étude entend démontrer l’intention des cinéastes de faire prendre conscience aux citoyens des problèmes affectant la vie sociale. Ce travail de recherche s’intéresse également à l’usage de la critique sociale au cinéma, cette fonction qu’un film peut mettre en oeuvre parmi d’autres fonctions. Le corpus de ce mémoire est composé de films de fiction réalisés par les principaux représentants de la nouvelle génération de cinéastes sud-coréens, Lee Chang-dong, Kim Ki-duk, Bong Joon-ho et Park Chan-wook. Le mémoire est divisé en trois chapitres, consacrés, pour le premier, à un questionnement sur les rapports entre le cinéma et la société et plus spécifiquement à la tendance particulière du cinéma coréen pour la contestation. Le second chapitre est dédié à une étude approfondie du contexte sociopolitique sud-coréen de l’année 1996 à nos jours et à la mise en exergue des principaux problèmes sociaux auxquels doit faire face le pays. Enfin, il sera démontré dans le troisième et dernier chapitre portant sur l’analyse des différents films du corpus la manière dont les nouveaux cinéastes.
Motion pictures --- Motion pictures, Korean. --- Social problems in art. --- History.
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"Parasite", "Mademoiselle", "Burning"… autant de films qui, du fait de leur succès international, ont mis la lumière sur la production cinématographique coréenne et son incroyable diversité. Depuis ses prémices, quand des extraits filmés étaient diffusés lors de spectacles, au début du XXe siècle, jusqu'à l'engouement qu'il connaît aujourd'hui, le cinéma coréen a traversé des crises et des périodes de créativité superbes. S'inspirant d'ailleurs, inventant des genres et créant des esthétiques qui lui sont propres il est l'un des plus inventifs du monde. Cette monographie exceptionnelle propose une plongée dans l'histoire de la Corée et de son septième art, donnant des clefs pour la comprendre, et des envies de salles obscures.
Motion pictures, Korean --- Cinéma --- History --- Histoire. --- History.
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Motion picture producers and directors --- Motion pictures, Korean --- Motion pictures --- Plots, themes, etc
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At the start of the twenty-first century challenges to the global hegemony of U.S. culture are more apparent than ever. Two of the contenders vying for the hearts, minds, bandwidths, and pocketbooks of the world's consumers of culture (principally, popular culture) are India and South Korea. "Bollywood" and "Hallyu" are increasingly competing with "Hollywood"-either replacing it or filling a void in places where it never held sway. This critical multidisciplinary anthology places the mediascapes of India (the site of Bollywood), South Korea (fountainhead of Hallyu, aka the Korean Wave), and the United States (the site of Hollywood) in comparative dialogue to explore the transnational flows of technology, capital, and labor. It asks what sorts of political and economic shifts have occurred to make India and South Korea important alternative nodes of techno-cultural production, consumption, and contestation. By adopting comparative perspectives and mobile methodologies and linking popular culture to the industries that produce it as well as the industries it supports, Pop Empires connects films, music, television serials, stardom, and fandom to nation-building, diasporic identity formation, and transnational capital and labor. Additionally, via the juxtaposition of Bollywood and Hallyu, as not only synecdoches of national affiliation but also discursive case studies, the contributors examine how popular culture intersects with race, gender, and empire in relation to the global movement of peoples, goods, and ideas.
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"Film viewing presents a unique situation in which the film viewer is unwittingly placed in the role of a multimodal translator, finding themselves entirely responsible for interpreting multifaceted meanings at the mercy of their own semiotic repertoire. Yet, researchers have made little attempt, as they have for literary texts, to explain the gap in translation when it comes to multimodality. It is no wonder then that, in an era of informed consumerism, film viewers have been trying to develop their own toolboxes for the tasks that they are faced with when viewing foreign language films by sharing information online. This is particularly the case with South Korean film, which has drawn the interest of foreign viewers who want to understand these untranslatable meanings and even go as far as learning the Korean language to do so. Understanding Korean Film: A Cross-Cultural Perspective breaks this long-awaited ground, by explaining the meaning potential of a selection of common Korean verbal and non-verbal expressions in a range of contexts in South Korean film that are often untranslatable for English-speaking Western viewers. Through the selection of expressions provided in the text, readers become familiar with a system that can be extended more generally to understanding expressions in South Korean films. Formal analyses are presented in the form of in-depth discursive deconstructions of verbal and non-verbal expressions within the context of South Korea's Confucian traditions. Our case studies thus illustrate, in a more systematic way, how various meaning potential can be inferred in particular narrative contexts"--
Motion pictures, Korean --- Korean language --- Subtitles (Motion pictures, television, etc.) --- Nonverbal communication in motion pictures --- Nonverbal communication --- Interpersonal relations in motion pictures --- Interpersonal relations --- Confucianism --- Sociolinguistics --- Motion pictures and language --- Translating into English
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In this ground-breaking investigation into the seldom-studied film culture of colonial Korea (1910-1945), Dong Hoon Kim brings new perspectives to the associations between colonialism, modernity, film historiography and national cinema. By reconstructing the lost intricacies of colonial film history, Eclipsed Cinema explores under-investigated aspects of colonial film culture, such as the representational politics of colonial cinema, the film unit of the colonial government, the social reception of Hollywood cinema, and Japanese settlers' film culture. Filling a significant void in Asian film history, [this book] greatly expands the critical and historical scopes of early cinema and Korean and Japanese film histories, as well as modern Asian culture, and colonial and postcolonial studies.
K9790 --- K9741.70 --- Korea: Performing and media arts -- cinema --- Korea: Performing and media arts -- history -- Japanese annexation period (1905-1945) --- Motion pictures, Japanese --- Japanese motion pictures --- Foreign films --- History and criticism. --- Korea --- Japan --- History --- Motion pictures, Korean --- Social conditions --- Korean motion pictures
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