Fr. 145.00

Remasculinization of Korean Cinema

English · Hardback

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Informationen zum Autor Kyung Hyun Kim Klappentext 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. Zusammenfassung 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 Inhaltsverzeichnis Acknowledgments ix Introduction: Hunting for the Whale 1 1: GENRES OF POST-TRAUMA> At the Edge of Metropolis in A Fine, Windy Day and Green Fish 31 2 Nowhere to Run: Disenfranchised Men on the Road in The Man with Three Coffins, Sopyonje, and Out to the World 52 3 “Is This How the War Is Remembered?”: Violent Sex and the Korean War in Silver Stallion, Spring in My Hometown, and The Taebaek Mountains 77 4 Post-Trauma and Historical Remembrance in A Single Spark and A Petal 107 2: NEW KOREAN CINEMA AUTEURS 5 Male Crisis in the Early Films of Park Kwang-su 136 6 Jang Sun-woo’s Three “F” Words: Familism, Fetishism, and Fascism 162 7 Too Early/Too Late: Temporality and Repetition in Hong Sang-su’s Films 203 3: FIN-DE-SIECLE ANXIETIES>8 Lethal Work: Domestic Space and Gender Troubles in Happy End and The Housemaid 233 9 “Each Man Kills the Thing He Loves”: Transgressive Agents, National Security, and Blockbuster Aesthetics in Shiri and Joint Security Area 259 Notes 277 Select Filmography of Major Directors of the New Korean Cinema 313 Index 321

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