480 research outputs found
Review of Jinhee Choi, The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs
No full textIn this review of Jinhee Choi’s monograph The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs, I argue that Choi provides an insightful and original contribution to the growing ?eld of Korean ?lm studies. By examining some of the domestic ?lm trends that have never received sustained academic attention in the English language, Choi represents the true diversity of contemporary South Korean cinema and the issues it raises around notions of national cinema and globalisation
“Girls Who Can Leap Through Time:Shojo and Time Travel in East Asian Media”
No full textJinhee Choi concentrates on how a popular science-fiction figure operates in the hybridized context of time-travel romances, focusing on the gender politics of the much-overlooked female time travelers in contemporary East Asian media productions
Forever Girls:Necro-Cinematics and South Korean Girlhood
No full textForever Girls explores girlhood manifest in contemporary South Korean cinema within the conflicting socio-political forces that shaped the nation: coloniality, postcolonial and postwar traumas, modernity, and democracy. Author Jinhee Choi reorients the direction of current scholarship on contemporary South Korean cinema from patriarchy, masculinity and violence, to instead consider girls as a social imaginary. Drawing on the depiction of girlhood from the 1970s as a reference image, including that of low-wage working-class girls, Choi explores the extent to which the form of girlhood represented in the millennial South Korean cinema still resonates with such an image. From the popular teen pictures and male auteurs' work of the 1970s; to a contemporary film cycle on military sexual slavery ("wianbu"); to Bong Joon-ho's girl trilogy; and to South Korean independent cinema of 2010s directed by women, Choi focuses on girls' sexuality, labor, and leisure, and demonstrates how girls in contemporary South Korean cinema are increasingly represented to have agency (albeit still limited); they are subjects who remember the past, experience the present, and envision the future, and whose interiority lies beyond their status as victims of sexual violence and national trauma. Choi further critically engages with the girlhood associated with unproductivity and dismissed as mere irreality. In contrast, she foregrounds how cinema could adequately mourn girls' deaths and grant them shelter and idleness as part of what is desperately needed: the very girlhood that has long been denied.</p
Cinema's compassionate gaze: empathy, affect, and aesthetics in "The Diving Bell and the Butterfly"
No full textEnd-to-end Multi-task Learning of Missing Value Imputation and Forecasting in Time-Series Data
No full textMultivariate time-series prediction is a common task, but it often becomes challenging due to missing data caused by unreliable sensors and other issues. In fact, inaccurate imputation of missing values can degrade the downstream prediction performance, so it may be better not to rely on the estimated values of missing data. Furthermore, observed data may contain noise, so denoising them can be helpful for the main task at hand. In response, we propose a novel approach that can automatically utilize the optimal combination of the observed and the estimated values to generate not only complete, but also noise-reduced data by our own gating mechanism. We evaluate our model on incomplete real-world time-series datasets and achieved state-of-the-art performance. Moreover, we present in-depth studies using a carefully designed, synthetic multivariate time-series dataset to verify the effectiveness of the proposed model. The ablation studies and the experimental analysis of the proposed gating mechanism show that it works as an effective denoising and imputation method for time-series classification tasks
What Makes a Movie Good?
No full textWatching movies is one of the great pleasures of life, but we all tend to pay attention to the latest Marvel blockbuster without recognizing that there is a world of cinema out there that sees itself as art, not just entertainment. Is an Avengers movie good in the same way that The Godfather or a low-budget indie film are, and are there objective standards of quality that are separate from popularity and ticket sales? Should movies from one country be thought of as distinct from movies in other countries? When does a movie begin and end, with the action or with the credits? What does it mean to look at a film philosophically, in the first place? This episode discusses these questions and more with an eye towards global cinema.
Jinhee Choi is a reader in Film Studies and the Head of the Film Studies Department at King’s College in London. She has two PhDs, one in Philosophy and one in Film Studies. She is currently working on a book about the portrayal of girls and their sensibilities horror, “chick flicks,” thrillers, and other genres in South Korean cinema.
Here are Jinhee’s lists of favorite movies per decade:
World Cinema 1920: Backward Bread [Kino Eye] (Vertov, 1924) 1930: The Gay Divorcee (Astaire/Rogers musical, RKO, 1934) 1940: LateSpring(Ozu,1949) 1950: (2 films in the 1960s instead) 1960: The Eclipse (Antonioni, 1962), 15/67 TV (Kren, 1967) 1970: Jeanne Dielman (Akerman, 1975) 1980: The Time to Live and The Time to Die (Hou,1985) 1990: Days of Being Wild (Wong, 1990) 2000: The Royal Tenenbaums (Anderson, 2001) 2010: The Chambermaid (Aviles, 2018)
Post-War Korean Cinema 1950: A Female Boss (Han Hyeong-mo, 1959) 1960: The Devil’s Stairway (Lee Man-hui, 1964) / A Day Off (Lee Man-hui, 1968) 1970: Night Voyage (Kim Soo-yong, 1977) 1980: Gagman (Lee Myeong-se, 1989) 1990: Whispering Corridor 2: Memento Mori (Min + Kim, 1999) 2000: Memories of Murder (Bong Joon-ho, 2003)/A Bittersweet Life (Kim Jee-woon, 2005) 2010: Maggie (Lee Okseop, 2018) 2020: Tiny Light (Cho Min-je, 2020)https://commons.und.edu/why-radio-archive/1160/thumbnail.jp
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