AN ABSTRACT OF THE DISSERTATION OF KWANG WOO NOH, for the Doctor of Philosophy degree in Mass Communication and Media Arts, presented on August 25, 2009, at Southern Illinois University at Carbondale. TITLE: MEMORIES OF RAPID TRANSFORMATION: RETROSPECTION AND NOSTALGIA IN CONTEMPORARY SOUTH KOREAN CINEMA MAJOR PROFESSOR: Deborah Tudor, Ph.D. The recent tendency of returning to history in Korean cinema corresponds with the conjuncture of democratization and globalization from 1992, which is an antithesis of the former conjuncture: modernization and military dictatorship from 1961 to 1992. Through the rapid economic development, Korea's economy reached its apex in the mid 1990s. However, Asian economic crisis of 1997 - 1998 accelerated the economic decline. The democratization and the economic crisis provided Korean filmmakers with a motivation to re-examine the past. The research contained herein will focus on these Korean reexaminations of the past. With regard to this re-examination, Korean cinema employed two main trends. Some films refer to historical and political moments, and suggest a relationship between such moments and Korean destiny. Other films deal with personal stories from the 1960s to 1990s. Both trends provide not only retrospection of the rapid transformation but also nostalgia for the past despite differences of subject matters and genre. Film studies pertinent to the subject include political criticism in U.S. film studies of ideology, historians' and film scholars' approaches to film representation of the history and the past, as well as New German cinema and post-Franco Spanish cinema. Methodology will incorporate textual analysis, followed by an examination of four films in retrospective trend, as well as four films in the nostalgic trend. For the purpose of analysis, eight films, released from 2000 to 2007, are examined. In terms of subject matter, all films are connected to Korea from the 1960 to the 1990s. In the first trend of films of historical reference, four films will be examined: The President's Barber(Im Chan-sang, 2004), The President's Last Bang (Im Sang-soo, 2004), Peppermint Candy (Lee Chang-dong, 2000), and Memories of Murder (Bong Joon-ho, 2003). The President's Barber covers the era from the last days of Rhee Syng-man regime through the Student Revolution of April 19, 1960, through the military coup on May 16, in 1961, to the assassination of Park Chung-hee on October 26, 1979, through the life of a fictional barber who served the president. The President's Last Bang (Im Sang-soo, 2004) dramatizes the assassination of Park Chung-hee. With its reverse chronological narrative progress, Peppermint Candy (Lee Chang-dong, 2000) traces how the Kwangju massacre of May 1980 influenced Korean society. Finally Memories of Murder (Bong Joon-ho, 2003) treats the expansion of capitalism during the 1980s within the form of mystery and thriller film. Four films that tell personal stories are chosen: The Classic (Kwak Jae-yong, 2003), My Mother the Mermaid (Park Heung-Shik, 2004), Once Upon A Time in A High school: The Spirit of Jeet Kune Do (Yu Ha, 2003) and Friend (Kwak Kyung-taek, 2001). All but My Mother the Mermaid adopt the form of "high teen film" for their genre conventions. Once Upon A Time in A High School: The Spirit of Jeet Kune Do (Yu ha, 2003) is a coming-of-age film set in a high school located in Kangnam, a newly developed periphery of Seoul in the late 1970s. The Classic and Friend compare adolescence and maturity by putting episodes from main characters' high school days in the middle of storyline. Whether they are set in a remote island or a high school in an urban area, these films depict not only the bitterness and poignancy of growing up but also show diverse aspects of, or responses to, the rapid socio-economic transformation of South Korea.

Cette thèse vise à apporter un éclairage philosophique sur l'œuvre cinématographique d'Alfred Hitchcock. Plus spécifiquement, il est question d'envisager les phénomènes esthétiques et narratifs afin d'évaluer la pertinence de ses films en matière de morale. Pour ce faire, nous proposons un travail en quatre étapes : tout d'abord, il faut prendre le temps nécessaire pour consolider les fondements théoriques de l'exégèse. La première partie s'efforce donc de mettre en place les éléments principaux pour la connaissance de son œuvre, du contexte de production et de ses caractéristiques les plus pertinentes. Par la suite sont envisagés les apports théoriques et conceptuels des critiques dans la filiation de laquelle se situe ce travail : la politique de réhabilitation d'Hitchcock opérée par les Cahiers du cinéma porte ses fruits aujourd'hui encore, malgré la nécessité de dépasser leur approche spiritualiste. Ainsi, cette thèse se veut leur héritière, tout en revendiquant l'utilité de perspectives alternatives comme celles de Robin Wood ou de William Drummin. Le second moment se propose d'entrer dans la diégèse hitchcockienne et d'analyser le plus justement possible les particularités du monde fictionnel créé à travers la cinquantaine de films constituant le corpus. Cette étude met en valeur l'idée d'un pessimisme latent qui se manifeste à travers une contingence ambivalente, une menace de la fatalité, une ambiguïté des fin heureuses, et une critique presque généralisée des institutions. La représentation des personnages n'est pas plus heureuse dans la mesure où l'antagonisme traditionnel méchants / bons est faussé par un manque d'héroïsme des protagonistes et une sympathie récurrente des vilains, dont la mise en scène particulièrement ambiguë favorise un rapport non conventionnel de la part des spectateurs. La troisième partie tente de dépasser cette inquiétude généralisée en montrant que les ressources personnelles des protagonistes, associées à leur rencontre parfois traumatisante avec le monde les amène à rendre possible une certaine éthique des rapports humains. Le couple engagement / dévouement est au centre de ce développement, permettant de mettre en avant la possibilité d'une évolution des personnages : d'une amoralité initiale, résultat d'une hostilité généralisée et d'un égoïsme primaire, ils peuvent prétendre au statut de véritables héros, porteurs ou représentants de valeurs et de vertus liées à l'altruisme et à l'acceptation du monde. Enfin, le dernier mouvement propose une étude de la réception, dont le but est de comprendre la position spectatorielle. Pour ce faire, nous analysons les procédés permettant le partage des expériences, afin de parvenir au concept de « vicarialité » qui semble le plus à même de décrire la forte implication et la conscience de soi qui résulte de l'esthétique hitchcockienne. Le moment final est centré sur la constitution du jugement moral du spectateur et sur la pertinence de cette œuvre dans la vie éthique du public. / This thesis aims at bringing a philosophical perspective on Alfred Hitchcock's cinematographic work. More specifically, we intend to consider the aesthetic and narrative phenomenons in order to value the moral relevance of his films. To do this, we suggest a four stage work : firstly, one needs to take the time to strengthen the theoretical basis of the exegesis. The first part strives to introduce the main elements to for a proper study of his work, its context of production and its most relevant features. After this non exhaustive glance, we'll address the conceptual and theoretical contribution of the critics in the filiation whose approach we share. The politics of Hitchcock's rehabilitation by the Cahiers du cinéma still bears fruits today, despite the necessity to exceed their spiritualist approach. Therefore, this thesis claims the inheritance while calling upon different critics, likes William Drummin or Robin Wood. The second moment investigates Hitchcock's diegesis in order to analyse as correctly as possible the features of this fictional universe created through the fifty or so films of the corpus. What emerges from this study is the idea of a latent pessimism which shows itself through an ambivalent contingency, a fatality threat, ambiguity of the happy endings and an almost generalized criticism of the institutions. The character's presentation is not happier inasmuch as the traditional antagonism villains / good people is corrupted by a lack of heroism from the protagonists and a recurrent sympathy from the villains, the mise en scène of which leads to an unconventional connection with the spectator. The third part tries to exceed this widespread anxiety by showing that the protagonists' personal resources, associated with their (sometimes traumatizing) encounters with the world leads them to make a certain ethics of human relationships possible. The pair engagement / devotion is at the centre of this development and allows us to point up the possibility of an evolution of the characters: from an initial amorality resulting from a general hostility and a primary egoism, they can pretend to become real heroes, bringing or exemplifying values and virtues linked to altruism and acceptance of the world. The last step offers a study of the reception of the films; the aim is to understand the spectatorship's position. To do this, we analyse the processes leading to the sharing of the experiences, in order to reach the concept of “vicariality”, which seems the most suitable to describe the strong implication and the self-consciousness resulting from the hitchcockian aesthetics. The final moment is centred on the constitution of the moral judgement of the spectator and on the contribution of Hitchcock's work on the moral life of the spectators.

A presente tese tem por objetivo analisar a produção do conhecimento sobre os estudos de cinema realizados pelos pesquisadores vinculados à Sociedade Brasileira de Estudos de Cinema e Audiovisual (Socine). Procuramos compreender o contexto da criação da entidade, em 1996, destinada a realizar pesquisas sobre cinema e audiovisual e como foi possível o crescimento e a consolidação, até 2012, quando completou dezesseis anos de atuação. Visamos a mapear a produção do conhecimento sobre cinema nesse período, de maneira a elencar pesquisadores e temas pesquisados. Nesse escopo, relacionamos o início das atividades da Socine com o crescimento da produção, da divulgação e da exibição de filmes no país. Percebemos que os efeitos quantitativos e qualitativos do reinício da produção fílmica decorreram, entre outros fatores, da aprovação de leis de incentivo à cultura que passaram a vigorar no início dos anos de 1990 e, sobretudo, do espírito de redemocratização da política e da cultura no país, favorável à produção de bens simbólicos. Uma vez que a Socine propunha-se, desde sua criação, a romper com formas arcaicas de fazer pesquisa em cinema, possibilitou a formação de mais pesquisadores na área, contribuindo para a produção e divulgação das pesquisas sobre cinema. Inovaram, assim, tanto em aspectos científicos quanto político-intelectuais. Para analisar as contribuições da Socine para a produção fílmica nacional, fundamentamos teoricamente nossa investigação na noção de campo e na análise relacional. Esses conceitos nos foram caros uma vez que, ao reunir um expressivo número de pesquisadores, a Socine configurou-se como agente coletivo que visava a analisar o cinema quanto à sua representatividade cultural e simbólica para o país. As condições da ação e as formas de articulação dos pesquisadores de cinema na Socine ajudaram, desse modo, a compor os campos científico e cinematográfico inscritos na composição e na forma de gestão que adota, de maneira a permitir avaliar a sociedade com relação ao que ela promove. Recorremos, em nossa análise, a entrevistas narrativas de alguns membros do Conselho Editorial organizadores dos livros, publicações e documentos. Constatamos, no material produzido pela Socine, uma relação entre o aumento da produção, distribuição e exibição de películas brasileiras desde 1995 e a postura propositiva da Socine ao delimitar interesse sistematizado pela temática, com aumento do número de pesquisadores dispostos a pesquisar, debater e publicar sobre a temática. Como consequência, em mais de uma década e meia de existência, a sociedade manteve: encontros anuais, publicação de artigos, resenhas, ensaios, livros e revista debatendo os vários aspectos que envolvem o cinema no Brasil. Além disso, promoveu a exposição, análise e emprego de categorias que tomamos como base para nossas análises desse que constitui um rico e diversificado conjunto de materiais. Ao nos determos à análise de estudos sobre a composição e representação do povo brasileiro, amparamo-nos na perspectiva que entende os discursos como produtores e comunicadores de significados de mundo. Esses significados, por sua vez, formam representações sobre a vida, o futuro, o ser social, a política e o poder e, sobretudo, a pessoa humana que nos deram condições de ter uma melhor percepção a respeito do modo singular com que ela aborda a realidade. Deste modo, concluímos que o filme pode ser um fundamental meio que homens e mulheres encontram para expressar-se, e que olhar para essas produções de maneira mais efetiva só se fez possível a partir dos estudos de cinema realizados na Socine, uma vez que apresentam uma visão de conjunto dessa produção. / This thesis aims to analyze the knowledge production concerning to the cinema studies carried out by researchers from the Sociedade Brasileira de Estudos de Cinema e Audiovisual Socine (Brazilians Society of Cinema and Audiovisual studies). We intend to understand the context of the entitys creation, in 1996, destined to carried out researches about cinema and audiovisual, and how it was possible its development and consolidation, until 2012. We aim to map the knowledge production concerning to cinema in this period of time, listing some researchers and subjects researched. For this target, we have related the beginning of Socines activities with the development of the production, disclosure and exhibition of movies in Brazil. We have understood that qualitative and quantitative effects of the restart of movies production occurred because of the approval of incentive of culture laws, which went into effect in the beginning of the nineties and, above all, the spirit of redemocratization and the countrys culture, favorable to symbolic goods production. Once Socine was determined to break off relations with the archaic ways of doing research about cinema, it made possible the formation of more researchers of that field of studies, cooperating to the cinemas researches production and disclosure. They have changed either the scientific aspects or the intellectual and political ones. In order to analyze Socines contributions to the Brazilians movie production, we are based upon the notion of field and in relational analysis. The concepts were very important once, as we reunited many researchers, Socine set up as a collective agent that aimed to analyze cinema as its cultural and symbolic representativeness in Brazil. Socine movie researchers action circumstances and articulation ways helped to put together the scientific and the cinematographic fields, inscribed in the compositions and type of the management adopted, in a way that, it is allowed to evaluate society in relation to what it promotes. To our analysis, we have recurred to the members of the editorial boards narrative interviews. We have found out that in the material produced by Sorine, there is a relationship between the productions increasing, the exhibition of Brazilian movies since 1995 and Socines propositive posture limiting the systematic interest for this theme, increasing the number of researches that want to search, debate and publish about this subject. As a consequence, in more than a decade and half of existence, this society maintained: annual meetings, articles publication, summaries, essays, books and journals debating many subjects that are concerned to the Brazilian movies. In addition, it has promoted the exhibition, analysis and employment of the categories that are the base to our analysis of this, that constitutes a very important set of materials. We understand also that the discourses as creators and communicators of the different worlds. Those meanings have made lifes representations, future, the social being, politics and power, and, over all, the human beings, that gave us conditions to have a better perception about the singular way that reality was approached. Thus, we have concluded that movies can be an essential way that everyone has find to express oneself and that looking that productions in a more effective way was only possible because of the cinema studies carried out by Socine, once they represent those productions overview.

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This thesis investigates temporal dimensions of reenactment in experimental filmmaking, with a particular focus on the prominent use of this practice in the cinema of Portuguese director Pedro Costa. The research analyzes the non-professional actors’ performances in Costa’s films and broadly explores the implications of cinematic in-person reenactment, a term coined by Ivone Margulies. More specifically, the analysis sets out to challenge the predominant discourse of documentary reenactment by bringing closer attention to the intricate expression and materiality of cinematic temporality in these films, an approach that is also informed by Gilles Deleuze’s notion of the crystal-image. This concept, I argue, enriches our understanding of temporality in relation to reenactment, and ultimately also the impact Costa’s images have in providing us with a more attentive acknowledgment of the cinematic screen event. The aesthetics activated in these works exemplify what I call aesthetics of ambiguity. Contributing to the scholarly debate on reenactment within cinema studies, this work offers new perspectives on the phenomenon from the conceptual, aesthetic, and phenomenological examples of these films. The aesthetics of Costa exemplifies the temporal ambiguity that manifests itself in instances of in-person reenactments. I argue that this aesthetics challenge – and possibly also enrich - the predominant discourse of cinematic reenactment, by loosening its traditional connection to documentary filmmaking and examining it beyond categories of the real and the fictional.

The intent of this paper is to explore a black feminist perspective within the film horror genre. A black feminist perspective investigates how black women are portrayed within cinematic horror. It serves as a method to further articulate the particularities of race & gender within cinema. If we leave the cinematic space without a structural model of intervention, then we are left with film that remains unchallenged for ostracizing black women. The paper argues that black women become articulated through themes of motherhood, death, and sexuality.

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Made available in DSpace on 2016-04-26T18:14:06Z (GMT). No. of bitstreams: 1 Leandro Martins Borges.pdf: 1300808 bytes, checksum: ff11f79fb81a55aa49b0df03f11f15b3 (MD5) Previous issue date: 2014-05-15 / This research investigates in which way the documentary, understood here as a regime of truth, is contested by the documentary production known as fake documentary. This genre appropriates the esthetic/narrative documentary forms in order to tell a fictional story. We consider that it is possible to criticize the very construction of the regimes of truth in a subversive way through its mimicry. This approach the subversive power within the fake documentary is not found in the few studies on the subject. Jane Roschoe s and Alexandra Juhasz s books, along with Matheus Barbosa Emérito s dissertation analyze the fake documentary from its formal aspects, seeing it as a parody or a deconstruction of the documentary. Our proposal is to build a film analysis of two fake documentaries chosen for their capability to generate a double critique of the regime of truth, present both in the cinematographic aspect and in the subject of the movies. From the theories of discourse and the concepts developed by Foucault, i ek and Lacan, relating regime of truth, falseness and ideology, we analyze the films Exit Through The Gift Shop and Opération Lune. As an expected result there is the possibility of perceiving how a film genre, typically associated with its commitment to the truth, can be paradoxically a means used subversively to generate noise in the regimes of truth. This paper intends to analyze the cinematographic resources that make a movie being classified as a documentary possible, and how the fake documentary uses the same resources to carry out a subversive critique of the regimes of truth related to the subject of each film / Esta pesquisa investiga de que forma o documentário, aqui entendido como um regime de verdade, é contestado pela produção documentária conhecida como falso-documentário. Esse gênero se apropria das formas estético/narrativas documentárias, para narrar uma história ficcional. Consideramos que ao se mimetizar um regime de verdade, seja possível realizar uma crítica, de forma subversiva, à própria forma de construção de regimes de verdade. Esse enfoque na potência subversiva presente no falso documentário não é encontrado nos poucos estudos sobre o assunto. Os livros de Jane Roschoe, Alexandra Juhasz e a dissertação de Matheus Barbosa Emérito, analisam o falso documentário a partir da questão formal, compreendendo-o como uma paródia ou uma desconstrução do documentário. Nossa proposta é construir uma análise fílmica de dois falsos documentários selecionados por sua capacidade em gerar uma dupla crítica ao regime de verdade, presente tanto no aspecto cinematográfico, assim como no tema de seus filmes. A partir das teorias de discurso e dos conceitos desenvolvidos por Foucault, i ek e Lacan, relacionando regime de verdade, falso e ideologia, analisaremos os filmes Exit Through the Gift Shop e Opération Lune. Como resultado esperado, se coloca a possibilidade de perceber como um gênero cinematográfico, comumente associado ao seu compromisso com a verdade, pode ser, paradoxalmente, um meio usado de forma subversiva para gerar ruídos nos regimes de verdade. Este trabalho visa a análise dos recursos cinematográficos que possibilitam que um filme possa ser classificado como um documentário, e como o falso documentário se utiliza desses mesmos recursos, para realizar uma crítica subversiva aos regimes de verdade relacionados ao tema de cada filme

Through the use of masculinity as a visual language this research aims to unravel the divide between the role of the act and the acted. French actor Julien Boisselier operates as the male manifestation of the actor in question and functions on multiple levels of performance, both as male and as an actor. Boisseliers depictions of major, medium and minor acted characters offer another level to the performance variable. The aim to highlight the visible triggers of a ‘pure performance’ (a performance where the actor may slip or falter out of acted character and into default human performance) as shown through the choreography of his physiognomy is the experience underpinning this thesis.