지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Asian Films are received as the work is perceived in terms of Orientalism in Western film sphere. Especially, self-orientalized films are devoted to vitalize the promotion of internationality, used as strategy for. Lim Kwon Tack, Kitano Takeshi are the representative of that strategy. Also, so called "in-between zone" directors are linked to the arthouse distribution system and became international labelling, to be posted in symbiosis of foreign film markets.
Though Chan-Wook Park is categorized in "in-between zone" directors, then being circled in Westernized perspective of Orientalism, he shows exceptionality without Orientalism trends. Notwithstandingly, Park is conceived as the figure who maintains his own internationality in the context that he uses Western sensibility and modernistic style. He at first gained some pejorative name so called "Tarantino of the East" via Oldboy, then, after that he became the object on further studies with questions of his peculiarity transmitted to both sphere, East and West.
Park is tested as enduror to repetition. Stoker 2012, the first Hollywood making would be the watershed moment of his future. In spite of his longing for directing it is sure that he is legend now.
Though Chan-Wook Park is categorized in "in-between zone" directors, then being circled in Westernized perspective of Orientalism, he shows exceptionality without Orientalism trends. Notwithstandingly, Park is conceived as the figure who maintains his own internationality in the context that he uses Western sensibility and modernistic style. He at first gained some pejorative name so called "Tarantino of the East" via Oldboy, then, after that he became the object on further studies with questions of his peculiarity transmitted to both sphere, East and West.
Park is tested as enduror to repetition. Stoker 2012, the first Hollywood making would be the watershed moment of his future. In spite of his longing for directing it is sure that he is legend now.
목차
I. 서론
II. 본론
III. 결론
참고문헌
Abstract
참고문헌 (15)
참고문헌 신청
1. [단행본] - Bowyer Justin / 2004 / The Cinema of Japan and korea / Wallflower Press
2. [단행본] - Choi, Jinhee / 2010 / The South Korean Film Renaissance: local hitmakers, global provocateurs / Wesleyan University Press
3. [단행본] - Vick, Tom / 2007 / Asian Cinema : A field guide / Smithsonian
4. [학술지(정기간행물)] - 이지연 / 2006 / 내셔널 시네마의 유통과 ‘작가’ 감독의 브랜드화에 대한 비판적 성찰 / 영화연구 (30) : 250 ~ 288
5. [기타자료] - Buruma, Ian / 2006 / Mr. Vengeance / The New York Times
2. [단행본] - Choi, Jinhee / 2010 / The South Korean Film Renaissance: local hitmakers, global provocateurs / Wesleyan University Press
3. [단행본] - Vick, Tom / 2007 / Asian Cinema : A field guide / Smithsonian
4. [학술지(정기간행물)] - 이지연 / 2006 / 내셔널 시네마의 유통과 ‘작가’ 감독의 브랜드화에 대한 비판적 성찰 / 영화연구 (30) : 250 ~ 288
5. [기타자료] - Buruma, Ian / 2006 / Mr. Vengeance / The New York Times
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UCI(KEPA) : I410-ECN-0101-2014-600-000363796