<p>The intention with this essay is to investigate how the narration of the South Korean film <em>Sympathy for Mr. Vengeance</em> (Park Chan-wook, 2002) relates to the Hollywood pictures of today. An important change which David Bordwell pays attention to is an intensifying of former stylistic paradigms in what he denominates as intensified continuity. That said, Bordwell and Kristin Thompson are in agreement on that the new films still are predominantly classical. The neoformalistic standpoint which Thompson and Bordwell use appears however to contain some problematic implications. Their way of categorizing films as classical, critics maintain, could only result in empty shells of formal parameters. The essay is built upon investigating three areas: plot, narration and style. The result of this study indicates that <em>Sympathy for Mr. Vengeance</em> remains within the classical characteristics, as well as differentiates on certain matters. However, appropriate conclusion needs taking into account also some of the difficulties and critiques targeting the neoformalistic take on style.</p>

The intention with this essay is to investigate how the narration of the South Korean film Sympathy for Mr. Vengeance (Park Chan-wook, 2002) relates to the Hollywood pictures of today. An important change which David Bordwell pays attention to is an intensifying of former stylistic paradigms in what he denominates as intensified continuity. That said, Bordwell and Kristin Thompson are in agreement on that the new films still are predominantly classical. The neoformalistic standpoint which Thompson and Bordwell use appears however to contain some problematic implications. Their way of categorizing films as classical, critics maintain, could only result in empty shells of formal parameters. The essay is built upon investigating three areas: plot, narration and style. The result of this study indicates that Sympathy for Mr. Vengeance remains within the classical characteristics, as well as differentiates on certain matters. However, appropriate conclusion needs taking into account also some of the difficulties and critiques targeting the neoformalistic take on style.

My dissertation, entitled, The Origin of Korean Trauerspiel: Gwangju, Stasis, Justice, argues that the vertiginous vicissitudes of contemporary South Korea since 1997 can be best described in terms of what Walter Benjamin calls Trauerspiel, or Mourning Play. This project identifies the 15-year period as the time-space of a series of suspended and thwarted mourning, in which death, be it in the past or present, hardly partakes of the economy of justice or sacrifice as it putatively does in tragedy in view of a new community to come. Drawing attention to the peculiar interplay between two contemporary catalysts of stasis, or civil war, i.e., the special amnesty granted in 1997 to ex-President Chun Doo-Hwan for his executive role in the Gwangju Massacre in May 1980 and the U.S. War on Terror since 2002, for which 3 Korean civilian hostages were kidnapped and brutally executed in 2004 and 2007, I argue that both serve to render naught the sublime causes (e.g. Democracy, Justice, and Peace) as well as human lives sacrificed in relation to them, generating a genuine crisis of politics and ethics. By analyzing contemporary Korean cinema (e.g. films by Park Chan-wook, Bong Jun-ho, and Kim Jee-woon) and literature (e.g. Kim Hoon) of this period as allegory of this crisis, I show how attempts at doing justice are complicated and increasingly frustrated by progressive dissolution of a series of traditional distinctions between Victim and Perpetrator, Friend and Enemy, and Justice and Vengeance, leading to universal failures of mourning, only to constitute a vast singular Trauerspiel, or Mourning Play.

Submitted by Pós-Com Pós-Com (pos-com@ufba.br) on 2015-01-15T13:47:50Z No. of bitstreams: 1 Humberto_Saldanha.pdf: 1633909 bytes, checksum: adf534744bcdcad8dffeaf8605f8475e (MD5) / Approved for entry into archive by Vania Magalhaes (magal@ufba.br) on 2018-01-30T14:39:02Z (GMT) No. of bitstreams: 1 Humberto_Saldanha.pdf: 1633909 bytes, checksum: adf534744bcdcad8dffeaf8605f8475e (MD5) / Made available in DSpace on 2018-01-30T14:39:02Z (GMT). No. of bitstreams: 1 Humberto_Saldanha.pdf: 1633909 bytes, checksum: adf534744bcdcad8dffeaf8605f8475e (MD5) / CNPQ / O presente trabalho tem por objetivo investigar a obra do cineasta sul-coreano Park Chanwook, partindo da hipótese de que seu universo fílmico é fortemente marcado por uma retórica excessiva, que se manifesta através do modo como a narrativa se estrutura e mediante a manipulação dos materiais da linguagem e da técnica cinematográfica. Acreditamos que Park articula seu trabalho artístico sobre uma retórica de representação exacerbada da violência, construção hiperbólica dos protagonistas, além de colocar em primeiro plano os dramas, dores e sentimentos dos personagens. Sendo assim, esta pesquisa se estrutura sobre duas abordagens principais a respeito do excesso cinemático. A primeira delas leva em consideração os materiais plásticos e sonoros postos em cena de modo exagerado; enquanto a segunda perspectiva caracteriza o excesso a partir da construção de cenas e sequencias, cujos elementos estilísticos trabalham para produzir um engajamento emocional no espectador. A fim de limitarmos o corpus analítico, optamos por nos concentrar no exame dos filmes concernentes à Trilogia da vingança, a saber, Mr. Vingança (Boksuneun Naui Geot, 2002), Oldboy (idem, 2003) e Lady Vingança (Chinjeolhan Geumja-si, 2005), pois, dentro da filmografia do diretor, são as obras que melhor contemplam as singularidades de Park, uma vez que suas particularidades estão impressas na construção plástica, narrativa, temática, sonora, etc. Tendo essas questões em mente, nossos problemas de investigação são: 1) averiguar como o excesso é construído na trilogia e; 2) identificar quais são os efeitos programados para causar efeitos sentimentais no âmbito da apreciação. Além disso, tais questões serão contempladas levando em consideração o contexto de produção (campo) em que Park Chan-wook se insere, comparando sua obra com outras produções sul-coreanas, na tentativa de mostrar as distinções e semelhanças entre os trabalhos. Nossa pesquisa foi guiada por dois pressupostos teóricos vinculados à poética: o Neoformalismo, método de autoria dos pesquisadores David Bordwell e Kristim Thompson; e a poética do cinema, metodologia desenvolvida pelo pesquisador Wilson Gomes. Ambos os métodos consideram o filme um material expressivo, formado por programas e estratégias de conformação. Por fim, para auxiliar na observação das emoções fílmicas, chamamos em causa as pesquisas desenvolvidas pelos cognitivistas, especialmente as premissas de autoria de Noël Carroll. Atrelado a isso, pretende-se também lançar luz a um fenômeno presente na cinematografia mundial: a consolidação de uma indústria cinematográfica sul-coreana. Acreditamos que a ênfase em um diretor do país acrescentará questões relevantes para discussões sobre o assunto. / The pres ent study aims to investigate the work of South Korean filmmaker Park Chan - wook, assuming that its film ic universe is strongly marked by excessive rhetoric, which is manifested through the way the narrative structure s itself and the manipulation material o f language and cinematic technique. We believe that Pa rk articulates his artwork on rhetoric of representation exacerbated violence, hyperbolic construction of the protagonists, beyond put in the foreground the tragedies, pains and feelings of the characte rs. Thus, this research is structured on two main approaches regarding the cinematic excess. The first one takes into accou nt the plastic and sound effects put in place in a much exaggerated way , while the second perspective is based on the construction of scenes and sequences, whose stylistic elements work to produce an emotional engagement in the viewer. In order to limit the analytical corpus , we chose to focus on the examination of films concerning the Revenge Trilogy : Sympathy For Mr. Vengeance ( Boksun eun Naui Geot , 2002), Oldboy ( idem , 2003) and Sympathy For Lady Vengeance ( Chinjeolhan Geumja - si , 2005) , because, in the director's filmography, those works contemplate better the singularities of Park ’s work since these peculiarities are printed on its pl astic construction, narrative, thematic , sound, etc.. With these aspects in mind, our research problems are: 1) find out how the excess is built in the trilogy and, 2) identify what the effects are progr ammed to cause emotional reactions in the spectator . Moreover, such issues will be addressed taking into account the context of production ( field ) in which Par k Chan - wook is located , comparing his work with other South Korean productions in an attempt to show the differen ces and similarities between those wo rks. Our research was guided by two theoretical assumptions related to poetry : the Neoformalism , method authored by researchers David Bordwell and Thompson Kristim, and the Poética do Cinema , methodology developed by researcher Wilson Gomes. Both methods c onsider the film an expressive material, consisting of programs and strategies conformation. Eventually , to assist in the observation of fil mic emotions, this work call into attention the research developed by cognitivists, especially the assumptions writt en by Noël Carroll. Linked to this, the aim is also to shed light on a phenomenon present on cinematographic world: the consolidation of a South Korean film industry. We believe that the emphasis on a country director add relevant questions to discussions about this subject.

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