The meaning and characteristics of Social Problem Film in Korea - a genre as a response to the frustration of practical politics focusing on films in 2011-2013 -

Film Studies ◽  
2019 ◽  
Vol 79 ◽  
pp. 217-247
Author(s):  
JinHyuk Hong
1961 ◽  
Vol 11 (3-4) ◽  
pp. 199-208 ◽  
Author(s):  
B. Baldwin

This paper owes its inspiration to a remark made by Professor M. Rostovtzeff; in a note in his Social and Economic History of the Roman Empire on the widespread social unrest of the first two centuries A.D., having cited other literary authorities such as Dio Chrysostom, Aelius Aristides, etc., he writes: ‘The social problem as such, the cleavage between the poor and the rich, occupies a prominent place in the dialogues of Lucian; he was fully aware of the importance of the problem.’ No one, as far as I know, has attempted to collect and discuss the main passages in Lucian on this topic, and the latest writer on this aspect of Lucian reaches a conclusion quite opposed to Rostovtzeff and one which I believe to be wholly misleading. The aim of this paper is to collect and discuss the main references in Lucian to the social problem interpreting them in the light of Lucian's life and background, and the social and economic conditions of his age. In particular I shall stress the importance of the Cynic tradition as it bears on Lucian's attitude, but shall endeavour to show that this tradition is firmly rooted in practical politics and actual participation in social revolutionary movements and goes far beyond the repetition of mere ethical cliches generally ascribed to it.


1990 ◽  
Vol 95 (2) ◽  
pp. 604
Author(s):  
Michael T. Isenberg ◽  
Kay Sloan

Dancing Women ◽  
2020 ◽  
pp. 139-178
Author(s):  
Usha Iyer

Chapter 4 focuses on two Bharatanatyam-trained stars in the 1950s and 1960s, Vyjayanthimala and Waheeda Rehman, analyzing changes in film dance alongside the canonization of specific classical and folk dance forms by the Sangeet Natak Akademi. By studying how dance training influences acting repertoires, this chapter calls attention to movement, gesture, and bodily comportment to enhance our understanding of virtuosity and technique, proposing a movement-based analysis of film acting grounded in kinesthetic performance and spectatorship. Rehman and Vyjayanthimala’s most ambitious production numbers speak to their own performative desires as trained dancers. Films featuring these A-list actresses as dancing protagonists evince a generic tendency, described here as the “melodrama of dance reform,” which combines the dance spectacular with the “social problem” film, producing in the process cinematic figurations riven with anxieties and aspirations around female sexuality, bodily movement, and economic independence.


1989 ◽  
Vol 76 (3) ◽  
pp. 963
Author(s):  
Patrick G. Gerster ◽  
Kay Sloan

Sign in / Sign up

Export Citation Format

Share Document