Nevertheless, Asian-American stars are recognized extremely played prototypical roles offered to them – model minority, sexualized the female or masculine women. There is much argument within the Asian American community whether to consider Liu as a protagonist or a hateful. In playing highlighting sexuality roles such as Ling Woo on Ally McBeal, a role who is a ‘self-described “tramp” … simultaneously addicted to casual sex and uses sex to have her way with men’ (Goldsea.com 2008). Is she bolstering the sexploitation of Asian females, or is she an Asian image who plays her strong points? Moreover, there are already some problems in the critical writing as to whether Liu is to be considered an action star or an actor. Some argues that, in Charlie’s Angels
Previous research reveals that Korean-Americans are considered the most separated from the rest of the society, both culturally and ethnically. Study used Berry (1997)’s strategies of assimilation, integration, separation and marginalization and three main dimensions of cultural orientations; language, identity and behaviors (Choi et al. 2014). Study included youth who are highly integrated in society; born in the US or immigrated at a young age; proficient in both English and mainstream behavior practices whereas their parents known to be culturally separated and the family socialization processes largely Korean (combination of high acculturation and high enculturation, characterizing integration). Researchers used years of residence and nativity
In order to be able to take a closer examination of North Korean cinema, I viewed and analyzed five different films that were released around the same period. The films that I viewed were: 불가사리 [Pulgasari] (1985), 네거리초병 [Negŏrich'obyŏng / A Traffic Controller on Crossroads] (1986), 홍길동 [Hong Kil-dong] (1986), 명령 027호 [Myŏngnyŏng 027 Ho / Order No. 027] (1986), and 도라지꽃 [T'orajikkot / A Broad Bellflower] (1987). The genres of these movies range from romance, entertainment, slice of life, to action, and thus also have different levels of propaganda messages that are told among them. Throughout this paper, I will give a glimpse into each movie, analyze the messages that each of the films provide, and compare the amount of usage and meanings behind the
But Phillips did not always receive the respect that she deserved and was due to a writer, producing the equivalent of thirty novels per year. Often, soap operas are see as a woman’s genre, not only because it was viewed mainly by housewives, but because it was created and perfected by women, in world of
“Angels on the Streets” is an enlightenment movie, from the Colonial Era, that gives the audience a glimpse on how the Korean film industry has been impacted due to Japanese colonization. Throughout the movie, Japanese influence can be seen through assimilation so that Koreans have to integrate to a Japanese way of thinking and living. Such assimilation can be seen through noticeable propaganda, introduction of Westernization, and the idea of being an imperial citizen in a new-nation state. Propaganda portrays ideas that are favorable towards Japanese living.
When I was my 15 years, I watched my first Korean dorama. Then I did not know how it would exert an impact on my fate and view of life. This was the world-famous “Boys over flowers”, which became an occasion of my acquaintance with the country of morning freshness. I strongly believe that my life transformed for better and blossomed after watching this Korean dorama was watched by everyone, from the youngest to the oldest. It drew me in this world – the world of Korean drama, Korean pop and Korean cinema. Knowledge about Korea was increasing more and more gradually and new sides of Korea were opened. I found out the country is famous not only of the Korean wave, Hallyu, but also of kimchi, various traditional food, colorful nature and combination of tradition and modernity. And some pieces of the Korean culture and language are quite similar
Released in July 2006, Bong Joon-ho’s The Host garnered both widespread popularity as the highest grossing South Korean film ever released in Korea. It was also screening at the Cannes, New York, and Toronto film festivals and seen by more than a quarter of the Korean population. The Host embodies political messages both political conditions inside Korea and its relationship with United States. Bong shows an ambivalent relationship between South Korea and United States by borrowing Hollywood genre in his films. The Host uses genre that strongly identified with Hollywood, which is blockbuster plot and monster movie. But Bong does not simply copy Hollywood. This movie is a rare combination
In the years following the collapse of Asia’s economy in 1998, South Korea turned to alternative exports to assist in both the restructuring of the nation’s financial strength and its reputation in international markets. As a result, pop-cultural exports such as films, television dramas, pop music and celebrities associated with these forms of media discourses have found growing popularity in China, Hong Kong, Taiwan; as well as many other East and Southeast Asian countries. This growing popularity of pop-cultural exports has proved to be a tool in constructing a contemporary national image and encouraged the emergence of the ‘Korean Wave’. According to Huang (2009) ‘Hallyu’ or the ‘Korean Wave’ refers to the “...popularity of South Korean culture in other Asian countries” however, with the increased availability of digital media and the increase of social networking, the definition of Hallyu has recently grown to include Western Societies.
South Korea’s 1998 “Sunshine Policy” was intended to alleviate historical strain and improve political communication with North Korea. By encouraging collaboration and providing economic support, South Korean President Kim Dae Jung hoped to rebuild broken connections with North Korea with the end goal of peaceful co-existence. In response to this new foreign policy and prospect of reunification, many South Korean directors took matters into their own hands and started to experiment with films that featured both North and South Korean characters. Two such directors were Kang Je-gyu and Park Chan-wook, who both used military films to express their opinions on joint North and South Korea relations. Since the two countries have historically been separate, the interesting challenge that Directors Je-gyu and Chan-wook had to face was how to incorporate both parties using filmic aspects of misé-en-scene. For example, should both characters appear in the same shots and frames? Should the South Korean characters get more screen time than their North Korean counterparts? In order to address this challenge, the directors had to consider the three manifestations of space: liminality, interstitiality, and marginality. In his Betwixt and Between: The Liminal Period in Rites de Passage, Victor Turner, the father of interpretive anthropology, loosely defines these terms in the context of two separate communities. A ‘liminal individual’ does not occupy a space in either community, an
South Korea is one of the most homogeneous countries in the world, in which it has its own culture, language, and customs that are different from other Asian countries. In South Korea, the citizens greatly value hard work, filial piety, and humility in their daily lives. South Koreans are very proud people in which they pride themselves in their traditional culture and their financial success.
‘’The boy from Ipanema’’ is an indie romantic Korean film directed and written by Kim Kih-hoon and it’s placed in Busan in South Korea and in Sapporo in Japan. In the film stars the model/actor Lee Soo-hyuk as the boy whose name is never mentioned in the film and actress Kim Min-ji as the girl who also stayed unnamed for all the duration of the film. Is worth to mention that ‘’The boy from Ipanema’’ has received the Audience Critic’s Award and the Movie Collage Award at the 2010 (11th) Jeonju International Film Festival.
Manners represent an individual by the way they dress, behave, communicate, and their etiquette, while customs refer to the traditional way that a culture is practice individually, or by a group of people. Workers are expected to bow to their seniors when they greet them, and to use only formal language to their seniors, as it is rude to speak informally to someone of higher rank. In Korean businesses, meetings are often held in evenings at a restaurant or bar. Drinking is part of the Korean culture, as Koreans believe that drinking helps to bond colleagues in the company, and an offered drink must never be refused as it is considered to be rude. Along with drinking, Karaoke is a popular activity after meetings. People who attend the meeting are usually expected to sing a solo song.
Other industries like dancing school (Figure 8), fashioning boutiques and Spa (Figure 9), wedding photography (Figure 10) and plastic surgery (Figure 11) have also boosted by the Korean wave. Among these industries, the plastic surgery is particularly prominent.
My return to Korea in the summer of 2001 was nothing short of a culture shock. I was in a country I thought I had learned by heart. It was the country I always rooted my identity and pride from. I wasn’t ready for the shock. I
South Korean love their country very much that they tend to buy national made products than foreign products. For example, a Germany brand called MCM able to regain their status after been taken over by South Korean company after it went bankrupt in 2005. They prefer Samsung over iPhone, LG over Philips, Hyundai over imported cars.