Academic literature on the topic 'Cinéma sud-coréen'
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Journal articles on the topic "Cinéma sud-coréen"
Coppola, Antoine. "La Corée du Nord dans le cinéma sud-coréen." Questions internationales N° 123, no. 7 (February 16, 2024): 124–30. http://dx.doi.org/10.3917/quin.123.0124.
Full textJoinau, Benjamin. "Aux origines de la vague sud-coréenne : le cinéma sud-coréen comme soft power." Pouvoirs 167, no. 4 (2018): 107. http://dx.doi.org/10.3917/pouv.167.0107.
Full textCoppola, Antoine. "Regain religieux dans le cinéma sud-coréen : vers une trans-religion du futur ?" Sociétés 144, no. 2 (2019): 95. http://dx.doi.org/10.3917/soc.144.0095.
Full textDuay, Justine. "Mémoire, traumatisme et histoire dans le cinéma sud-coréen contemporain : Mother et Peppermint Candy." Décadrages, no. 19 (October 10, 2011): 120–29. http://dx.doi.org/10.4000/decadrages.319.
Full textJoinau, Benjamin. "Soi-même comme un autre. Identité et altérité dans le cinéma sud-coréen populaire." Critique 848-849, no. 1 (2018): 123. http://dx.doi.org/10.3917/criti.848.0123.
Full textCoppola, Antoine. "La science-fiction dans le cinéma coréen du Sud et du Nord : enjeu culturel et politique." Sociétés 135, no. 1 (2017): 103. http://dx.doi.org/10.3917/soc.135.0103.
Full textHabib, André. "En terrains connus ou « choses vues » dans Paris : Night and Day (2008) de Hong Sang-soo." Études littéraires 45, no. 2 (March 4, 2015): 97–107. http://dx.doi.org/10.7202/1028980ar.
Full textDissertations / Theses on the topic "Cinéma sud-coréen"
Guerdin, Daphnée. "Puissance et persistance du mélodrame dans le cinéma sud-coréen : se raconter pour se réinventer." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC008.
Full textThis work aims to question the omnipresence of melodrama in South Korean cinema, in order to identify the powers of the genre in the constantly changing fabric of a common imagination. It is a question of approaching melodrama according to the intertextual space that the works trace in order to detect the power relations – socio-historical, political, transnational – which are deployed at the heart of the forms that it takes or resumes during its history. We analyze the conditions that favored its emergence from the beginnings of cinema in Korea, question its conformist and subversive potential in contact with censorship, and its constant reinvention in a composite cinema, made of perpetual exogenous reappropriations. It is also a question of establishing a dialectic with the History of the country as well as of cinema, through the use of metaphors and allegories, and by the transformation of History into filmic material that nourishes the national imagination
Hong, Sora. "La génération des centres culturels (Munhwawon sedae) et la nouvelle vague du cinéma sud-coréen des années 1980-1990." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0051.
Full textA process of cultural legitimation of the cinema has occurred in South Korea since the 1980s. This thesis focuses on the role that cinephiles grouped under the expression of the Munhwawon sedae, the generation of cultural centers, have played in this process. Accordingly, I analyze this notion, understood as a social network of South Korean cinephiles who emerged as a result of frequenting European countries’ cultural centers in Seoul between 1977 and 1984. The analysis is based on a prosopographic method to understand the relationships between individuals and institutions, particularly the trajectory and various discourses on the Seventh Art of the Munhwawon sedae. As I demonstrate, this trajectory is nourished not only by an intellectual type of European cinephilia but also, more locally, by theories of cultural movement for the minjung (people). The discourses produced on the “South Korean new cinema” therefore exist on the border between art and politics. The latter side was seen as a counterweight to an absurd political system. Thus, I strive to show how the political objective has progressively taken precedence over the artistic objective with the effervescence of the movement for the democratization of the country: the resistance against the presumed incoherence of society then becomes more important than the pursuit of the Seventh Art. Until the end of the political democratization process of the country, a balance is drawn between the aesthetic and political ambition of the Munhwawon sedae. The engagement of these cinephiles within the evolution of the South Korean cinema constitutes a new initiative in the field. Now, the “members” of the Munhwawon sedae, who once were movie fans frequenting European countries’ cultural centers, have spread their cinephilia as directors, producers, critics, and film educators. Overall, this thesis focuses on how, in the mid-1990s, the Munhwawon sedae announced an end to the dark age of South Korean cinema. By positioning itself in this way, literally at the heart of this artistic and political new wave, the Munhwawon sedae formed as the new cultural elite of South Korean society
Books on the topic "Cinéma sud-coréen"
Le cinéma sud-coréen: Du confucianisme à l'avant-garde : Splendeurs et misères du réalisme dans le nouvel ordre spectaculaire. L'Harmattan, 1997.
Find full textBook chapters on the topic "Cinéma sud-coréen"
Monvoisin, Frédéric. "Déterritorialisation-reterritorialisation de la frontière dans le cinéma sud-coréen." In Filmer les frontières, 69. Presses universitaires de Vincennes, 2016. http://dx.doi.org/10.3917/puv.maury.2016.01.0069.
Full textHong, Sora. "La Munhwawŏn sedae et le Centre culturel français à Séoul : la naissance de la Korean New Wave, le nouveau cinéma sud-coréen dans les années 1980-1990." In Des ciné-goûters aux séances pour les cinéphiles, 235–46. Presses universitaires du Septentrion, 2021. http://dx.doi.org/10.4000/books.septentrion.104235.
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