scholarly journals The New Zombie Apocalypse and Social Crisis in South Korean Cinema (translation into Russian)

Corpus Mundi ◽  
2021 ◽  
Vol 2 (4) ◽  
pp. 40-59
Author(s):  
Sung-Ae Lee
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Korean Cinema ◽  
Conceptual Metaphors ◽  
Social Crisis ◽  
South Korean ◽  
Cognitive Studies ◽  
Costume Drama ◽  
Korean Film

The popular culture version of the zombie, developed over the latter half of the twentieth century, made only sporadic appearances in South Korean film, which may in part be attributed to the restrictions on the distribution of American and Japanese films before 1988. Thus the first zombie film Monstrous Corpse (Goeshi 1980, directed by Gang Beom-Gu), was a loose remake of the Spanish-Italian Non si deve profanare il sonno dei morti (1974). Monstrous Corpse was largely forgotten until given a screening by KBS in 2011. Zombies don’t appear again for a quarter of a century. This article examines four zombie films released between 2012 and 2018: “Ambulance”, the fourth film in Horror Stories (2012), a popular horror portmanteau film; Train to Busan (2016) (directed by Yeon Sang-Ho), the first South Korean blockbuster film in the “zombie apocalypse” sub-genre; Seoul Station (2016), an animation prequel to Train to Busan (also directed by Yeon Sang-Ho); and Rampant (2018, directed by Kim Seong-Hun ), a costume drama set in Korea’s Joseon era. Based on a cognitive studies approach, this article examines two conceptual metaphors which underlie these films: the very common metaphor, LIFE IS A JOURNEY, and the endemically Korean metaphor THE NATION IS A FAMILY.

scholarly journals The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania

2011 ◽  
Vol 12 (1) ◽  
pp. 121-137
Author(s):  
Laima Juknevičiūtė
Keyword(s):  
Popular Culture ◽  
Soft Power ◽  
New South ◽  
Motion Pictures ◽  
Mainland China ◽  
Asian Countries ◽  
Korean Cinema ◽  
South Korean Government ◽  
South Korean ◽  
Korean Wave

Vytautas Magnus UniversitySouth Korea’s experience wielding soft power is usually associated with the Korean Wave, which swept the Asian region off its feet predominantly during the first decade of this century. In this article I will however argue that the phenomenon of the Korean Wave has never been intended as a calculated attempt on the part of the South Korean government to enhance the overall South Korean image worldwide and thus increase South Korean international might and prestige. To prove the validity of this hypothesis, I will provide a concise historical overview of the inception, development and spread of South Korean popular culture, while at the same time tracing its underlying soft power implications. I will likewise attempt to discuss the popular reception of the Korean Wave in three East Asian countries, i.e. Mainland China, Taiwan and Japan, and one European country, i.e. Lithuania. The scope of the endeavour has been largely restricted to the cinematic aspect of the Korean Wave, for I consider the creation of motion pictures and drama serials to be by far the most precious, influential and revealing form of art.

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...

Culinary Nationalism

2010 ◽  
Vol 10 (1) ◽  
pp. 102-109 ◽  
Author(s):  
priscilla parkhurst ferguson
Keyword(s):  
Twentieth Century ◽  
The South ◽  
National Interests ◽  
South Korean ◽  
National Identification ◽  
Early Twentieth Century ◽  
Korean Film ◽  
Globalized World

Culinary consciousness raisers, cooking texts often serve as vehicles of national identification. From Pampille (Marthe Allard Daudet) and her cookbook, Les Bons Plats de France, in 1913 to the international culinary competitions of today such as the Bocuse d'or, culinary distinction promotes national interests. In contrast to the strident nationalism of the early twentieth century, culinary nationalism today operates in an increasingly globalized world. National culinary distinction defines the nation and sells its products in a highly competitive international arena. A recent culinary text, the South Korean film Le Grand Chef [Sik Gaek  ] (2007), illustrates the phenomenon, subsuming national culinary promotion in a mega culinary competition, all in the service of Korean culinary achievement.

Espionage and Exile

2016 ◽  
Author(s):  
Phyllis Lassner
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Cold War ◽  
Literary History ◽  
Political Engagement ◽  
The Political ◽  
International Crises ◽  
Popular Entertainment ◽  
John Le Carre ◽  
The Cold War

Espionage and Exile demonstrates that from the 1930s through the Cold War, British Writers Eric Ambler, Helen MacInnes, Ann Bridge, Pamela Frankau, John le Carré and filmmaker Leslie Howard combined propaganda and popular entertainment to call for resistance to political oppression. Instead of constituting context, the political engagement of these spy fictions bring the historical crises of Fascist and Communist domination to the forefront of twentieth century literary history. They deploy themes of deception and betrayal to warn audiences of the consequences of Nazi Germany's conquests and later, the fusion of Fascist and Communist oppression. Featuring protagonists who are stateless and threatened refugees, abandoned and betrayed secret agents, and politically engaged or entrapped amateurs, all in states of precarious exile, these fictions engage their historical subjects to complicate extant literary meanings of transnational, diaspora and performativity. Unsettling distinctions between villain and victim as well as exile and belonging dramatizes relationships between the ethics of espionage and responses to international crises. With politically charged suspense and narrative experiments, these writers also challenge distinctions between literary, middlebrow, and popular culture.

How American Newspaper Comic Strips Portray God, Angels, and Humans

2020 ◽  
pp. 398-413
Author(s):  
Leonard Greenspoon
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
New Testament ◽  
Religious Identity ◽  
Online Media ◽  
Comic Strip ◽  
Comic Strips ◽  
The Bible ◽  
Biblical Texts

The comic strip as a mainstay of print and more recently online media is an American invention that began its development in the last decades of the 1800s. For many decades in the mid-twentieth century, comic strips were among the most widely disseminated forms of popular culture. With their succession of panels, pictures, and pithy perspectives, comics have come to cover an array of topics, including religion. This chapter looks at how the Bible (Old and New Testament) figures in comic strips, focusing specifically on three areas: the depiction of the divine, renderings of specific biblical texts, and how comic strips can function as sites in which religious identity and controversies play out. Relevant examples are drawn from several dozen strips. Special attention is also paid to a few, like Peanuts and BC, in which biblical imagery, ideology, and idiom are characteristically portrayed in distinctive ways.

The Wolf and the Lamb: Popular Culture in France from the Old Regime to the Twentieth Century

1979 ◽  
Vol 9 (4) ◽  
pp. 743
Author(s):  
Philip Dawson ◽  
Jacques Beauroy ◽  
Marc Bertrand ◽  
Edward T. Gargan
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Old Regime

scholarly journals Mickey’s Trailer and Environmental Thought: Disney Cartoons and Countryside

2016 ◽  
Vol 48 (1) ◽  
pp. 43-60
Author(s):  
Joe Goddard
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Land Uses ◽  
Automobile Ownership ◽  
Walt Disney ◽  
Environmental Cognition ◽  
Environmental Thought ◽  
The City ◽  
The Way

The influence of popular cartoons on environmental cognition is explored in this essay through readings of Mickey’s Trailer, a 1938 cartoon directed by Ben Sharpsteen for Walt Disney. Other materials considered include Ford Motor Company’s 1937-38 film coproduced by Wilder Pictures, Glacier International Park, which promotes motor-tourism and automobile ownership, and Ben Sharpsteen’s other work for Walt Disney. The article also examines the ideas of physical and “illusional” zoning in the city, especially the way that they were applied in the mid-twentieth century. Physical zoning involved separating incompatible land uses, whereas illusional zoning entailed seeing what you wanted to see. What does Mickey’s Trailer say about how people can live, and can it inform where people choose to live? The essay muses that appreciations of nature and the environment are influenced by popular culture.

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