scholarly journals Korean Men in Western film festival: The representation of filmic masculinity in five South Korean award – winning films

2019 ◽  
Vol 2 (3) ◽  
pp. 5-13
Author(s):  
Gabriel F. Y. Tsang
Keyword(s):  
Sole Source ◽  
Gender Identification ◽  
Film Festival ◽  
Cultural Dynamics ◽  
Cultural Globalization ◽  
South Korean ◽  
International Perspectives ◽  
Award Winning ◽  
Western Film ◽  
Gender Features

Masculinity is volatile, subject to representation. It is both personal and collective, interchanging with historical and cultural dynamics. This essay holds a focus on Korean masculinities represented in five award-winning South Korean films. In both diachronic and international perspectives, it differentiates between ideal, real and filmic masculinities, illuminating that ancient and modern Korean masculinities do not purely stick to a fixed, expected and shared ideology. There are variations in response to personal intention, nationhood and cultural globalization. The main argument of this essay is that conventional regulation is not the sole source to influence masculinity representation. Even violation of idealized manhood could deliver a sense of masculinity. Extending this argument to the concern with international film marketing, this essay questions about whether diversification of gender features would blur Korean masculinity and create new gender identification.

Cold War Cosmopolitanism: The Asia Foundation and 1950s Korean Cinema

2017 ◽  
Vol 22 (2) ◽  
pp. 281-316
Author(s):  
Christina Klein
Keyword(s):  
Cold War ◽  
Film Festival ◽  
Film Festivals ◽  
Korean Cinema ◽  
Major Objective ◽  
South Korean ◽  
Award Winning ◽  
Political Interests ◽  
History Of ◽  
Primary Instrument

Abstract South Korean films first became visible on the world stage in the late 1950s when they began to be exhibited and win prizes at international film festivals. Yi Pyŏngil’s The Wedding Day (1956) and Han Hyŏngmo’s Because I Love You (1958) were among Korea’s earliest award-winning films. These two films exemplify a postcolonial and postwar discourse I am calling “Cold War cosmopolitanism.” The cultivation of this cosmopolitan ethos among cultural producers was a major objective for Americans waging the cultural Cold War in Asia, and the Asia Foundation was Washington’s primary instrument for doing so. This article traces the history of the Asia Foundation from its inception in the National Security Council in the late 1940s through its activities in Korea in the 1950s and early 1960s. It pays particular attention to the foundation’s support for Korean participation in the Asian Film Festival. It offers a close textual and historical reading of Yi’s and Han’s films as a means of exploring how Korean cultural producers, acting as Cold War entrepreneurs, took advantage of the Asia Foundation’s resources in ways that furthered their own aesthetic, economic, and political interests.

Study of Individual Feature Extraction from Range Data of Human Nose

2003 ◽  
Vol 15 (4) ◽  
pp. 451-457
Author(s):  
Akio Nozawa ◽  
◽  
Hideto Ide
Keyword(s):  
Three Dimensional ◽  
Individual Identification ◽  
Solid Model ◽  
Range Data ◽  
Gender Identification ◽  
Identification Rate ◽  
Feature Vectors ◽  
And Gender ◽  
Gender Features ◽  
Human Nose

We extracted individual and gender features from range data on the human nose measured by a three-dimensional digitizer. We propose extracting individual and gender features from range data measured for the nose based on a solid model, which gives feature vectors for volume, length between vertexes, and angles around vertex. We determined elements of feature vectors by statistical analysis and authentication tests. We achieved an 83.67% individual identification rate and a 98.01% gender identification rate, verifying the effectiveness of our proposed method.

scholarly journals The Disorder of Life

2020 ◽  
Vol 6 (1) ◽  
pp. 140-154
Author(s):  
Karen Thorsen
Keyword(s):  
James Baldwin ◽  
65Th Birthday ◽  
Film Festival ◽  
Common Humanity ◽  
Award Winning

Filmmaker Karen Thorsen gave us James Baldwin: The Price of the Ticket, the award-winning documentary that is now considered a classic. First broadcast on PBS/American Masters in August, 1989—just days after what would have been Baldwin’s 65th birthday—the film premiered at the Sundance Film Festival in 1990. It was not the film Thorsen intended to make. Beginning in 1986, she and Baldwin had been collaborating on a very different film project: a “nonfiction feature” about the history, research, and writing of Baldwin’s next book, Remember This House. It was also going to be a film about progress: how far we had come, how far we still had to go, before we learned to trust our common humanity. The following memoir explores how and why their collaboration began. This recollection will be serialized in two parts, with the second installment appearing in James Baldwin Review’s seventh issue, due out in the fall of 2021.

scholarly journals Filmowiec nie może działać wyłącznie lokalnie. Z Krzysztofem Zanussim o współpracy z kinematografią niemiecką rozmawia Ewa Ciszewska

2018 ◽  
Vol 23 (32) ◽  
Author(s):  
Krzysztof Zanussi ◽  
Ewa Ciszewska
Keyword(s):  
German Literature ◽  
Film Festival ◽  
Feature Film ◽  
Max Frisch ◽  
Award Winning ◽  
Film Directors ◽  
Made In ◽  
Krzysztof Kieslowski

The paper presents an interview with Krzysztof Zanussi (born 17 June 1939), one of the most renowned award-winning Polish film directors. Some of his numerous films for television and cinema have been made in co-operation with German producers, including Manfred Durniok. His film Roads in the Night (Wege in der Nacht, 1979) was presented in 1980 in Cannes as part of the section “Un certain regard”. In Germany, Zanussi filmed not only some of his own screenplays, such as Imperative (Imperativ, 1982 – Special Jury Prize at the Venice International Film Festival in 1982), but also adaptations of Polish and German literature, for example House of Women (Haus der Frauen, 1977) based on a play by Zofia Nałkowska and Bluebeard (Blaubart, 1983) based on a novel by Max Frisch. In addition to those productions, he concurrently made films in Poland. Director of the TOR Film Studio since 1979. He produced films by such directors as Krzysztof Kieślowski and Agnieszka Holland. He currently works on a feature film entitled Ether.

scholarly journals Postwar Korean Cinema

1996 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Korean War ◽  
Film Festival ◽  
Korean Cinema ◽  
Class System ◽  
Economic Miracle ◽  
South Korean ◽  
Agrarian Society ◽  
The Korean War ◽  
Korean Film

POSTWAR KOREAN CINEMA: FRACTURED MEMORIES AND IDENTITY IT IS generally agreed by South Korean film scholars that the Golden Flowering of Korean cinema took place in the turbulent 1950s after the end of the 1950-53 Korean War, amidst the rapid industrialisation and modernisation of a predominantly agrarian society based on a highly stratified class system. Like its highly reactive Hongkong counterpart, South Korean cinema acts as a sensitive reflection of the constant changes and upheavals -- both socio-economic and political. These include the liberation in 1945 from Japan, the Korean War, the 1970s economic miracle and the current traumatic transformations that are shaping this troubled peninsula. This year, the astute Asian programmer of the 20th Hongkong International Film Festival, Ms Wong Ain-ling introduced a total of 12 "Rediscovered Korean Classics," with 6 of them set in the 1950s and 60s, emphasising the important role of Korean women during these...

Wang Bing's Filmmaking of the China Dream

2021 ◽  
Author(s):  
Elena Pollacchi
Keyword(s):  
The State ◽  
Entry Point ◽  
Film Production ◽  
Film Festival ◽  
Contemporary China ◽  
Chinese Studies ◽  
Documentary Studies ◽  
And Migration ◽  
Western Film ◽  
China Dream

This volume offers an organic discussion of Wang Bing's filmmaking across China's marginal spaces and against the backdrop of the state-sanctioned 'China Dream'. Wang's work has contemporary China as its focus and testifies to the country's contradictions, not dissimilar to those of contemporary societies dealing with issues of inequality, labour, and migration. Without being an activist, Wang Bing gives voice to the subaltern. His internationally awarded documentaries are recognized as world masterpieces. His unique aesthetics bears references to film masters, therefore this investigation goes beyond the divide between Western and non-Western film traditions. Each chapter takes a different articulation of space (spaces of labour, spaces of history, spaces of memory) as its entry point bringing together film and documentary studies, Chinese studies, and studies in globalization issues. This volume benefits from the author's extensive conversation with Wang Bing and from insider's observations of film production and the film festival circuit.

Projecting Asian Cinema to the World

2020 ◽  
pp. 114-134
Author(s):  
Sangjoon Lee
Keyword(s):  
San Francisco ◽  
International Level ◽  
Film Festival ◽  
Film Festivals ◽  
South Korean ◽  
The World ◽  
American Society ◽  
The 1960S ◽  
Asian Cinema

This chapter examines Unheeded Cries, South Korea's official submission to the fourth San Francisco International Film Festival (SFIFF) in 1960, which tells the story of postwar orphans in the slums of Seoul. It discusses the Berlinale, San Francisco, and Asian Film festivals that consistently invited South Korean films to their competition sections during the first half of the 1960s. It also mentions the occupied force's cultural representative, Oscar Martay, who promoted Berlin as the Western cultural showcase of the East. The chapter reviews how SFIFF was organized and managed by Irving “Bud” Levin, whose ultimate aim was to raise his profile to become an international-level figure. It elaborates the Asia Foundation's (TAF) attempt to use SFIFF to showcase non-communist and ideologically correct Asian films for mainstream American society.

scholarly journals Toronto 2014

2014 ◽  
Author(s):  
Brandon Wee
Keyword(s):  
Film Festival ◽  
South Korean ◽  
The Us ◽  
Second Year

HIGHLIGHTS FROM THE TORONTO INTERNATIONAL FILM FESTIVAL 2014 Although Toronto raised the stakes in the bloodsport of festival politics by saving its prime opening weekend slots only for world premieres, it's still early to tell if it can be kingmaker of the US awards season. Ironically, interest in the opening weekend haul of its 39th edition (4 - 14 September 2014) was muted, while films tipped as derby favourites had premiered elsewhere. In this game of give-and-take, a win for Toronto's ego can mean less exposure to important films. Away from Hollywood buzz, several directors returned with new works for the second year running: Peter Chan, Lav Diaz, Hong Sang-soo, Sono Sion, Johnnie To and Tsai Ming-liang (for Hong and Sono, it's their third year running). And for its sixth 'City to City' program, Toronto chose Seoul with eight titles spanning the genre variety that has sustained South Korean...

scholarly journals Pusan 2001

2001 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Far East ◽  
Nobel Peace Prize ◽  
Film Festival ◽  
South Korean ◽  
Local Media ◽  
The One ◽  
Asian Cinema ◽  
North And South

5th PUSAN INTERNATIONAL FILM FESTIVAL AND 3rd PUSAN PROMOTION PLAN Look no further -- there just isn't another festival on the circuit that specializes in Asian cinema better and with more insight than the Pusan International Film Festival -- together with its twin, the Pusan Promotion Plan (covered in a separate report). Indeed, this showcase of Asia cinema is generally recognized by visiting critics as the one to visit if you're a bonafide cineaste interested in production from all corners of the Near and Far East. The 5th PIFF (6-14 October 2000) will go down in history as a chronicle of events as well as a festival of films. No sooner had it got underway than word was out that visits between long separated families in North and South Korean were now possible. In addition, local media commentators were discussing a Nobel Peace Prize for South Korean President Kim...

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