Gotowa bibliografia na temat „New korean cinema”
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Artykuły w czasopismach na temat "New korean cinema"
Yecies, Brian, Ae-Gyung Shim i Ben Goldsmith. "Digital Intermediary: Korean Transnational Cinema". Media International Australia 141, nr 1 (listopad 2011): 137–45. http://dx.doi.org/10.1177/1329878x1114100116.
Pełny tekst źródłaPark, Heebon, i Andrew Finch. "Promoting intercultural sensitivity through New Korean Cinema films". East Asian Journal of Popular Culture 2, nr 2 (1.07.2016): 169–91. http://dx.doi.org/10.1386/eapc.2.2.169_1.
Pełny tekst źródłaTeo Kia Choong, Kevin. "Old/New Korea(s): Korean‐ness, Alterity, and Dreams of Re‐Unification in South Korean Cinema". Contemporary Justice Review 8, nr 3 (wrzesień 2005): 321–34. http://dx.doi.org/10.1080/10282580500133128.
Pełny tekst źródłaOgnieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA". UKRAINIAN CULTURAL STUDIES, nr 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.
Pełny tekst źródłaLee, Nikki Ji Yeon. "New Korean Cinema, and: South Korean Golden Age Melodrama: Gender, Genre, and National Cinema (review)". Journal of Korean Studies 11, nr 1 (2006): 191–95. http://dx.doi.org/10.1353/jks.2006.0000.
Pełny tekst źródłaCHUNGSTEVEN i Moon-Im Baek. "Guest Editors' Introduction: New Cartographies and Archaeologies of Korean Cinema". Review of Korean Studies 18, nr 1 (czerwiec 2015): 7–12. http://dx.doi.org/10.25024/review.2015.18.1.001.
Pełny tekst źródłaKlein, Christina. "The AFKN nexus: US military broadcasting and New Korean Cinema". Transnational Cinemas 3, nr 1 (22.05.2012): 19–39. http://dx.doi.org/10.1386/trac.3.1.19_1.
Pełny tekst źródłaHyoIn Yi. "Coevolution of Conventions and Korean New Wave: Korean Cinema in the 1970s and 80s". Korea Journal 59, nr 4 (grudzień 2019): 78–102. http://dx.doi.org/10.25024/kj.2019.59.4.78.
Pełny tekst źródłaChung, Hye Seung. "Multiculturalism as “New Enlightenment”: The Myth of Hypergamy and Social Integration in Punch". Journal of Korean Studies 23, nr 1 (1.03.2018): 135–52. http://dx.doi.org/10.1215/21581665-4339089.
Pełny tekst źródłaJuknevičiūtė, Laima. "The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania". Acta Orientalia Vilnensia 12, nr 1 (1.01.2011): 121–37. http://dx.doi.org/10.15388/aov.2011.0.1100.
Pełny tekst źródłaRozprawy doktorskie na temat "New korean cinema"
Shin, Jeeyoung. "Negotiating local, regional, and global nationalism, hybridity, and transnationalism in New Korean Cinema /". [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3344598.
Pełny tekst źródłaTitle from PDF t.p. (viewed on Oct. 6, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0401. Adviser: Barbara Klinger.
Brown, James, i katsuben@internode on net. "South Korean Film Since 1986: The Domestic and Regional Formulation of East Asias Most Recent Commercial Entertainment Cinema". Flinders University. School of Humanities (Screen Studies), 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071122.143238.
Pełny tekst źródłaHwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.
Pełny tekst źródłaTurner, James Lloyd. "Monstrous Dialogues: THE HOST and South Korean Inverted Exile". Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4244.
Pełny tekst źródłaHong, 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.
Pełny tekst źródłaA 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
Cho, Kyoung-Hee. "Le « Cinéma ouvert » de Jang Sun-Woo". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA063.
Pełny tekst źródłaThis thesis devotes itself to the analysis of the film and the theoretical work of Korean contemporary director Jang Sun-woo. He was initially a critic and a film theorist, his concept of "Open Cinema" (1982) aims to introduce about "the new cinema" which accentuates the need of the critics, the formal invention and also a theory for the Korean cinema with the consideration about its historical context. In particular, Jang Sun-woo insists on making a movie with the harmony between the individual and the community.The "Open Cinema" is a concept that combines the aesthetic of the film and the theater. Firstly, it is influenced by the Madanggeuk, the modern Korean theater is composed with several acts more or less independent of the narrative. Secondly, it is inspired by Eisenstein’s theory of editing which is based on the dialectic form between the continuity and the discontinuity. For Jang Sun-woo, the film remains open in a sense that it finds its conclusion in the interpretation of the audience. In his idea, the film incorporates the experience of the audience and creates his interpellation. To realize that, Jang Sun-woo proposes several rhetorics of image like repetition, metamorphosis, analogy, allegory, abstraction, and certain forms of hybridization.Our monograph observes the evolution of Jang Sun-woo’s whole work (critics, films, publications) which raises the essential and specific questions: how the concepts of the Minjung (people), the mass and the audience were developed? Can the aesthetics of openness allow the audience to be emancipated and what kind of change it implies? Finally, what sort of ceremonial Jang Sun-woo organizes for performing Utopia?
Książki na temat "New korean cinema"
Korean cinema: The new Hong Kong : a guidebook for the latest Korean New Wave. Victoria, B.C: Trafford, 2002.
Znajdź pełny tekst źródłaChi-Yun, Shin, i Stringer Julian 1966-, red. New Korean cinema. New York: New York University Press, 2005.
Znajdź pełny tekst źródłaChi-Yun, Shin, i Stringer Julian 1966-, red. New Korean cinema. Edinburgh: Edinburgh University Press, 2005.
Znajdź pełny tekst źródłaNew Korean Cinema Breaking The Waves. Wallflower Press, 2010.
Znajdź pełny tekst źródłaPaquet, Darcy. New Korean Cinema: Breaking the Waves. Columbia University Press, 2010.
Znajdź pełny tekst źródłaLeong, Anthony. Korean Cinema: The New Hong Kong. Trafford Publishing, 2006.
Znajdź pełny tekst źródłaJin, Dal Yong. Cultural Globalization in Korean Cinema. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0004.
Pełny tekst źródłaBettinson, Gary, i Daniel Martin. Introduction. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0001.
Pełny tekst źródłaParreñas Shimizu, Celine. The Proximity of Other Skins. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190865856.001.0001.
Pełny tekst źródłaChoi, Jinhee, red. Reorienting Ozu. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.001.0001.
Pełny tekst źródłaCzęści książek na temat "New korean cinema"
"II. New Korean Cinema Auteurs". W The Remasculinization of Korean Cinema, 131–230. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822385585-004.
Pełny tekst źródła"Select Filmography of Major Directors of the New Korean Cinema". W The Remasculinization of Korean Cinema, 313–19. Duke University Press, 2004. http://dx.doi.org/10.1215/9780822385585-016.
Pełny tekst źródła"Select Filmography of Major Directors of the New Korean Cinema". W The Remasculinization of Korean Cinema, 313–20. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822385585-007.
Pełny tekst źródła"SELECT FILMOGRAPHY OF MAJOR DIRECTORS OF THE NEW KOREAN CINEMA". W The Remasculinization of Korean Cinema, 313–20. Duke University Press, 2004. http://dx.doi.org/10.2307/j.ctv11cw5t0.18.
Pełny tekst źródła"The Manchurian Action Film: A New Anticolonial Imaginary in the Cold War Context". W Parameters of Disavowal: Colonial Representation in South Korean Cinema, 52–75. University of California Press, 2018. http://dx.doi.org/10.1525/luminos.51.d.
Pełny tekst źródła"The New Korean Cinema Looks Back To Kwangju: The Old Garden And May 18". W Korea Yearbook (2008), 171–98. BRILL, 2008. http://dx.doi.org/10.1163/ej.9789004169791.i-276.60.
Pełny tekst źródłaMa, Ran. "A Landscape Over There". W Independent Filmmaking across Borders in Contemporary Asia. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462986640_ch02.
Pełny tekst źródłaBarker, Thomas. "Audiences without Cinemas". W Indonesian Cinema after the New Order, 138–64. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528073.003.0006.
Pełny tekst źródłaTurnock, Bryan. "Asian Horror". W Studying Horror Cinema, 119–38. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0007.
Pełny tekst źródłaBeng Huat, Chua. "Pop Culture as Soft Power". W Structure, Audience and Soft Power in East Asian Pop Culture. Hong Kong University Press, 2012. http://dx.doi.org/10.5790/hongkong/9789888139033.003.0008.
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