1,721,086 research outputs found
Park Chan-wook
Full text linkTrashorras, A. (2007). Park Chan-wook. Nosferatu. Revista de cine. (55):156-162. https://riunet.upv.es/handle/10251/41524.Importación Masiva1561625
NEPAL: Never Ending Pain and Loathing
No full textAnalisi dei cortometraggi e dei documentari del regista coreano Park Chan-wook
La representación de la mujer en el cine surcoreano actual: los casos de Park Chan-wook y Hong Sang-soo
No full textEn el presente Trabajo Fin de Grado se pretende hacer un recorrido tanto por la historia de la mujer
en Corea del Sur como por su presencia a lo largo de los años del cine surcoreano, para acabar
realizando un análisis comparativo de su forma de representación por parte de dos de los directores
más reconocidos del país: Park Chan-wook (en el ámbito más comercial) y Hong Sang-soo (en el más
independiente).
Para realizar el análisis de las mujeres protagonistas en la filmografía de cada uno de los directores,
se toman como ejemplo las películas Sympathy for Lady Vengeance (2005), The Handmaiden (2016) y
Decision to Leave (2022) en el caso de Park Chan-wook y On the Beach at Night Alone (2017), The
Woman Who Ran (2020) y In Front of Your Face (2021) en el de Hong Sang-soo.In the present Final Degree Project it is intended to make a journey through both the history of
women in South Korea and their presence throughout the years of South Korean cinema, to conclude
by making a comparative analysis of their form of representation by two of the most recognized
directors of the country: Park Chan-wook (in the most commercial sphere) and Hong Sang-soo (in the
most independent sphere).
For the analysis of the leading women in the filmography of each of the directors, we will focus on
the films Sympathy for Lady Vengeance (2005), The Handmaiden (2016) and Decision to Leave (2022)
in the case of Park Chan-wook and On the Beach at Night Alone (2017), The Woman Who Ran (2020)
and In Front of Your Face (2021) in the case of Hong Sang-soo.Universidad de Sevilla. Grado en Comunicación Audiovisua
Por la senda del monstruo: la "Trilogía de la venganza" de Park Chan-wook
No full textMotivados por un sentimiento vengativo, que fomenta un círculo continuo de ira y resentimiento, los personajes de la “trilogía de la venganza” de Park Chan-wook, conformada por Sympathy for Mr. Vengeance, Oldboy y Lady Vengeance, van dejando de ser ellos mismos conforme van logrando sus objetivos. Una vez que cruzan la línea de víctima a victimario, no hay vuelta atrás. Caminan hasta convertirse en algo irreconocible, dejándonos una gran incertidumbre: una vez consumada la venganza, ¿qué es lo que sigue
El tutor silencioso: la venganza en las mujeres del cine de Park Chan-wook
Full text linkAborda el tratamiento de la mujer vengativa en el cine de Park Chan-wook a través de tres de sus filmes, Lady Vengeance (2005), Stoker (2013) y The Handmaiden (2016). A través de un análisis de su obra se muestra sus orígenes e importancia dentro de los directores de la Nueva Ola del cine coreano y la predominancia por la representación de la venganza en sus películas, así como su predilección por algunos géneros cinematográficos como el thriller y el melodrama con atribuciones del film noir, sus influencias en el tratamiento del sonido de las J-horror y la herencia de la mujer vengativa que rescata del subgénero de cine fantástico japonés del Kaibyo eiga. Se pone especial énfasis en el proceso y retribución de las mujeres vengativas representadas por el autor; se comprueba la relación de estos elementos con la teoría de Agencia de Anthony Giddens; y, finalmente, se concluye que el recorrido por la venganza y su consumación por las mujeres del cine de Park Chan-wook son los hechos que les permiten el descubrimiento y aceptación de lo que esencialmente las define
Narrativas subversivas: o cinema de gênero em Park Chan-wook: uma análise histórico-cultural e cinematográfica do diretor sul-coreano
No full textA seguinte monografia tem por objetivo compreender a existência de um perfil estético vigente nas obras do diretor Park Chan-wook, pontuado como um dos principais representantes do movimento Novo Cinema Coreano. Ao investigar o Cinema Sul-coreano, almeja-se compreender seu contexto histórico e sociocultural, enquanto se analisa a seleção de Chan-wook para obter uma perspectiva mais clara sobre a construção de seu valor estético-narrativo, proximidade com o cinema de gênero e comercialidade. Para alcançar tais objetivos, foram utilizadas fontes primárias e secundárias, incluindo entrevistas com o diretor, críticas cinematográficas e estudos acadêmicos relevantes.48 f
Of Nieces and Uncles: the Gendered Evolution of Suspicion in "Shadow of a Doubt" (Alfred Hitchcock, 1943) and "Stoker" (Park Chan-Wook, 2013)
No full textInternational audienceIn "Shadow of a Doubt" (Alfred Hitchcock, 1943), young Charlie’s initial faith in her Uncle Charlie gradually dissolves, and leads her to a bitter awakening as regards life’s baseness. Seventy years later, using Hitchcock’s film as a reference, director Park Chan-wook totally transforms the relationship between his own Uncle Charlie and Charlie’s Niece, India, in "Stoker" (Park Chan-wook, 2013). The mysteriously complex connection between the two characters is first characterized by India’s suspicious mind, but her trouble with Charlie enables the niece to outdo her kin in evil deeds, thereby giving Park Chan-wook’s film a gendered twist in which woman is no longer the hunted, but the stalker. Using Paul Ricoeur’s idea on the benefits that suspicion can entail, this article first analyses how suspicion is resorted to in both films not only to question and dissolve family links, but also to eventually propose some social structure in which the main female character is happy to fit. It will be shown, however, that the reconstructive dynamics of suspicion is different, even opposed, in the two films. While "Shadow of a Doubt" eventually seems to foreground a belief in patriarchy, "Stoker" prefers highlighting a radical and death-dealing subversion of these patriarchal rules
Behind the Unlimited Revenge: A Review on the Narrative Style of Park Chan-wook - Focusing on the “revenge trilogy”
No full textThe development of Korean films is tortuous, and a number of outstanding films have emerged in the 21st century. Among them, the “revenge trilogy” are famous, while they also made the director Park Chan-wook become world-renowned. His films break through the restriction of film genre and set up the complicated revenge structure, the carefully constructed space-time setting and the role-building of morally ambiguous characters. The elements of blood, violence, and eroticism are all direct in his films, but beneath these dark elements, there are reflections and discussions on human nature, destiny, and the rules of society. Ultimately, this paper will take the films of the “revenge trilogy” as the main cases and analyze the narrative style from three aspects: narrative structure, narrative space and characterization, and trace how these elements worked in Park Chan-wook’s films
The influence of colour in the neo-noir movement of south Korean director Park Chan-wook: the paradigmatic role of colour in building an efficient visual narrative
No full textDissertação de mestrado em Comunicação, Arte e CulturaA cor está presente no quotidiano de cada indivíduo e faz intrinsecamente parte de todas as artes visuais. Contudo, questiona-se se a cor funciona apenas como um adereço ou corno meio fulcral e fundamental para construções narrativas e comunicativas artísticas. A tese em questão terá como especial foco o movimento cinematográfico neo-noir na Coreia do Sul, decisão esta tomada devido ao facto da Coreia do Sul ser reconhecida universalmente como um grande ícone do cinema.
A decisão de abordar os filmes de Park Chan-wook foi tomada devido ao facto de que muita da produção fílmica deste realizador categorizar-se como sendo neo-noir, com uma enorme presença de cor.
Através de uma análise visual das obras selecionadas do realizador, complementada com leituras de especialistas das áreas do cinema e da semiótica, pretende-se saber de que modo é que o elemento visual referenciado anteriormente — a cor funciona como pilar influenciador para uma construção narrativa coesa no caso do trabalho de Park Chan-wook.The influence of colour in the neo-noir movement of south Korean director Park Chan-wook: the paradigmatic role of colour in building an efficient visual narrative
The concept of colour is a staple in the everyday lives of everyone, therefore being an intrinsic part of all visual arts/media. However, it is questioned whether colour functions as an adornment or as a central and fundamental mean for artistic narrative and communicative constructions.
This dissertation will have a special focus on the neo-noir cinematographic movement in South Korea, a decision taken due to South Korean being an universally recognized cinema icon. The Park Chan-wook films were specifically chosen for this study as this director's work, besides being critically acclaimed, is inserted into the neo-noir movie genre, where each one contains several and different instances and uses of colour.
Through a visual analysis of this directors selected works, complemented with written studies of several specialists in the film and semiotic fields, the ultimate conclusion that this study will try to achieve is based on whether or not colour in films work as an influential pillar for a cohesive narrative construction, in the case of Park Chan-rook's works
Análisis de la construcción de la violencia en la trilogía de la venganza del cineasta surcoreano Park Chan Wook como una crítica al capitalismo contemporáneo
Full text linkEl presente trabajo de investigación tiene como objetivo principal analizar cómo se construye la violencia en el cine del director Park Chan Wook como una crítica a la sociedad surcoreana contemporánea. Para lograr este objetivo, en primer lugar, se identificará el tratamiento cinematográfico de la violencia en la trilogía de la venganza del director surcoreano, que está conformada por: Sympathy For Mr. Vengeance (2002), Oldboy (2003) y Sympathy For Lady Vengeance (2005). En segundo lugar, se reconocerán las formas de la violencia de dichas películas en relación a las consecuencias del sistema capitalista de la sociedad surcoreana. En la introducción se plantea el estudio cuyo objetivo general es presentar el contexto en el que surge el director surcoreano y la trilogía de la venganza. En el marco teórico, se pretende realizar un recorrido por las formas en que el cine de ficción ha representado la violencia a través de la historia, este marco me permitirá contextualizar la propuesta de Park Chan Wook dentro de la evolución de la industria cinematográfica surcoreana. Asimismo, se profundizará el concepto de la violencia en general y cómo se representa en el cine; así como la relación entre la violencia y el capitalismo. En el capítulo de análisis, se utilizarán secuencias de cada película divididas en tres criterios en relación a la presencia de la violencia: revelación, acción y conclusión. Después, se ofrecerá un análisis audiovisual de cada secuencia ligado al contexto sociohistórico de Corea del Sur y las consecuencias del capitalismo contemporáneo que enfrenta esta sociedad. Finalmente, en las conclusiones se realizará una reflexión acerca de cómo Park Chan Wook logra crear una estética de la violencia particular de un mundo capitalista y la plasma mediante los recursos audiovisuales para crear una crítica a su propia sociedad.The main objective of this research work is to analyze how violence is constructed in director Park Chan Wook's cinema as a critique of contemporary South Korean society. To achieve this objective, in the first place, the cinematographic treatment of violence will be identified in the South Korean director's revenge trilogy, which is made up of: Sympathy For Mr. Vengeance (2002), Oldboy (2003) and Sympathy For Lady Vengeance (2005). Second, the forms of violence in these films will be recognized in relation to the consequences of the capitalist system of South Korean society. The introduction presents the study whose general objective is to present the context in which the South Korean director and the revenge trilogy emerge. In the theoretical framework, it is intended to make a journey through the ways in which fiction cinema has represented violence throughout history, this framework will allow me to contextualize Park Chan Wook's proposal within the evolution of the South Korean film industry. Likewise, the concept of violence in general and how it is represented in cinema will be deepened; as well as the relationship between violence and capitalism. In the analysis chapter, sequences from each film will be used divided into three criteria in relation to the presence of violence: revelation, action and conclusion. Afterwards, an audiovisual analysis of each sequence linked to the socio-historical context of South Korea and the consequences of contemporary capitalism facing this society will be offered. Finally, in the conclusions there will be a reflection on how Park Chan Wook manages to create an aesthetic of the particular violence of a capitalist world and shapes it through audiovisual resources to create a critique of his own society.Tesi
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