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Korean Post New Wave Film Director Series: Kim Ki-Duk, Brian M. Yecies, Aegyung Shim Yecies
Korean Post New Wave Film Director Series: Kim Ki-Duk, Brian M. Yecies, Aegyung Shim Yecies
Dr Brian Yecies
Shortly after the release of his new film Bad Guy (Korea 2001), KIM Ki-Duk announced that he was not giving any more interviews. He took a vow of silence, because many of his critics had been criticizing him. I decided to ask him for an interview anyway. He accepted my invitation right away. I reviewed his website (www.kimkiduk.com), which includes my harsh criticism about his films, and I read his past interviews. There were 21 interviews and 37 reviews about his new film Bad Guy. I printed 184 articles written by his fans and harsh opponents and read them randomly.
Book Review Of James, D & Kim, K.H (Eds) Im Kwon-Taek: The Making Of A Korean National Cinema, Brian Yecies
Book Review Of James, D & Kim, K.H (Eds) Im Kwon-Taek: The Making Of A Korean National Cinema, Brian Yecies
Brian Yecies
No abstract provided.
Reading Korean Stardom: Number 3 And The Reel, Real And Star Transformation Of Song Kang-Ho, Brian M. Yecies
Reading Korean Stardom: Number 3 And The Reel, Real And Star Transformation Of Song Kang-Ho, Brian M. Yecies
Dr Brian Yecies
This article focuses on Number Three and attempts to provide a window of understanding of Song Kang-Ho and the development of his artistry, which became crystallized in the early part of his filmmography. Number Three is an important film because Song Kang-Ho’s recognition and popularity began to spread after his performance in it. However, to date, few scholars have methodically explored and analyzed the transformation of his persona. Over the last seven years Song has appeared in some the most popular films as well as on the covers of numerous issues of Cine21 and Filml.O, two of Korea’s largest film …
Sejong Park's 'Birthday Boy' And Korean-Australian Encounters, Ben Goldsmith, Brian Yecies
Sejong Park's 'Birthday Boy' And Korean-Australian Encounters, Ben Goldsmith, Brian Yecies
Brian Yecies
This chapter focuses on some of the flows of film work between Australia and South Korea, and some of the roles taken by Australians in the performance (and particularly the sound) of Koreanness in different film contexts. We will explore Korean-Australian collaboration on film, through case studies of Sejong Park's Oscar-nominated short animated film Birthday Boy (2004) and two Korean feature films Musa (2001, Kim Sung-su Kim) and Shadowless Sword (2005, Kim Young-jun Kim) for which Australian firms provided sound post-production services. We are interested in how these films instanciate and expand Korean, Australian, diasporic and transnational filmmaking.
Traces Of Korean Cinema From 1945-1959, Brian Yecies
Traces Of Korean Cinema From 1945-1959, Brian Yecies
Brian Yecies
The first in a planned series of books about Korean film history, published in bilingual editions by the Korean Film Archive (KOFA). This particular edition contains essays on Korean film history focused on the period between Korea's liberation from Japan and the end of the 1950s. Articles within are written by KOFA President Yi Hyo-in and researcher Chung Chong Hwa. A large number of reproductions of period film stills and posters are also included. The original Korean articles as well as translated versions by Shim Ae Gyung are included together in this volume.
Hurray For Pusan And The Korean New Wave!, Brian M. Yecies, Aegyung Shim Yecies
Hurray For Pusan And The Korean New Wave!, Brian M. Yecies, Aegyung Shim Yecies
Dr Brian Yecies
For nine days in November 2001 (9th-17th), the 6th Pusan International Film Festival (PIFF) rocked the seaside city of Pusan. A record 659 industry guests from 30 countries, 3100 official Korean guests, and more than a hundred thousand moviegoers filled the seats of 332 completely sold-out, or near sell-out screenings in 15 different theatres. Thousands and thousands of curious festival fans filled the small streets and alleyways in the Downtown-Nampodong festival area, enjoying the stars, lights, cameras, and all of the promotional PIFF booths and kiosks. A total of 126,613 paid tickets were sold to 201 films from 60 countries, …
Cinematic Hooks For Korean Studies: Using The ‘Apache’ Framework For Inspiring Students About Korea In And Through Film, Brian M. Yecies, Ben Goldsmith
Cinematic Hooks For Korean Studies: Using The ‘Apache’ Framework For Inspiring Students About Korea In And Through Film, Brian M. Yecies, Ben Goldsmith
Dr Brian Yecies
Developing awareness of and maintaining interest in Korea and Korean culture for non-language secondary and tertiary students continues to challenge educators in Australia. A lack of appropriate and accessible creative and cultural materials is a key factor contributing to this challenge. In light of changes made to ‘fair use’ guidelines for the Digital Millennium Copyright Act in the United States in July 2010, and in order to prepare for a time in the near future when Australian copyright regulations might follow suit, this article offers a framework for utilizing film and digital media contents in the classroom. Case studies of …
Post-Burden Or New Burden Korean Cinema?: Outside Looking In At The Latest Golden Age, 1996-?, Brian M. Yecies
Post-Burden Or New Burden Korean Cinema?: Outside Looking In At The Latest Golden Age, 1996-?, Brian M. Yecies
Dr Brian Yecies
This work-in-progress examines the paradoxical nature of what I call Koreas post-burden cinema a present-day film industry that has survived Japanese colonialism, American occupation, civil war, prolonged dictatorship, rapid industrialization, economic crisis and severe censorship. For nearly a century filmmakers have learned and practised their trade under these challenging social, political, cultural, economic and industrial constraints, and outlived them. This paper uses a case study of The President's Last Bang to illustrate the divergent freedoms that have enabled representative commercial, art-house, independent and animation filmmakers to transcend national and cultural borders by telling previouslyforbidden stories and breathing a universal but …