Thesis (Ed.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This dissertation sought to evaluate the potential of a customized, videobased instructional method, the Cultural Video Project (CVP), which was designed to meet the needs of both heritage and non-heritage students learning Korean as a second language in a university setting. The goal of this study was to design and create the CVP, document the implementation of the CVP, and then to assess the effects the CVP had on the area that speakers of English tend to have difficulty with, such as acquisition of honorific systems in Korean. The CVP was a series of short authentic Korean video clips and matching worksheets that the researcher created. The videos were adapted from contemporary Korean broadcasting programs and Korean films. The CVP videos were used during the face-to-face setting classroom meeting sessions as a lesson and after the classroom lesson was over, the videos were available on the school's Internet courseware for students to use for their individual practice and review. Each of the CVP video segments displayed linguistic structures, vocabulary, idiomatic expressions and cultural conventions that were partly addressed in the course's Elementary Korean course materials. The participating professor, Professor Q, helped in selecting the video segments and co-authored the matching worksheets in corporation with the researcher throughout the preparation and implementation period. During the interviews, Professor Q reported changes in her teaching philosophy while creating and implementing the CVP method in her teaching. She reported that the video technology combined with the university's courseware uses created positive impacts on her students' Korean learning experiences such as heightened interest and intense attention that helped to make dynamic and interactive lessons during the classroom meetings. Students reported their responses to the CVP in various forms: Interviews, written self-reports, in-class observation reports, results of the exams and two-forms of standard school course evaluations. The findings reveal that through the CVP practice, students increased their cultural understanding, improved the listening skills, and improved their understanding of language use in a variety of culturally specific social situations. / 2031-01-01

The object of this project is to dissect the filmic elements in Train to Busan (2016) to analyze how the film represents the Sewol Ferry incident, a national disaster occurred in South Korea, and how the audience is able to engage with the trauma. As the first zombie blockbuster created in South Korea, Train to Busan adapted the elements of the zombie genre that has been delineated repeatedly. The film inherited the traits of zombies, representation of government and media, and feature of human characters from the genre created in Hollywood. Additionally, national characteristics had been added through reflecting the Sewol Ferry incident. Based on the ideas of genre studies, not only the components that construct the zombie genre, but also how the spectators confront the trauma while viewing the movie can be examined. Cinematography, narrative, character settings resemble the tragic event, which consequently trigger the audience to engage with the national trauma. Thus, while adapting the genre constructed in the Hollywood, Train to Busan reveals how Korean adaptation of the zombie media has been made.

The family has always been a central narrative theme in cinema. Korean cinema has been no exception, where the family has proved to be a popular subject since its earliest days. Yet Western scholarship on Korean cinema has given little attention to this dominant theme, preferring to concentrate on the film industry's recent revival and its blockbusters. Scholarship in Korea and in the Korean language, on the hand, has continuously discussed some of the major cinematic works on the family. However, such literature has tended to be in the form of articles discussing one or two particular works. A comprehensive study of the family in contemporary Korean cinema therefore remains absent both in Korean and in English. This thesis is an attempt to provide such a work, bringing together films on the family and writings on them in both Western and Korean scholarships, as well as filling the gaps where certain trends and patterns have gone undetected. How are the changes in the understanding of the family or in the roles of individual family members reworked, imagined, or desired in films? Taking this question as the starting point of the research, each chapter explores a separate theme: transformations in the structure of the family; faltering patriarchy and fatherhood; motherhood and the extremity of maternal love; and certain children's experiences of the family. The first chapter detects a general move away from the traditional patriarchal nuclear family and an interest in depicting alternative families, exploring shifting family forms in contemporary society and the public discourses surrounding them. The second chapter highlights the contradictory ways that the father has been illustrated in films during and after the IMF crisis. The third chapter explores a branch of recent thrillers that depicts mothers as dark and dangerous characters, offering an interesting cultural framing to the multiple perceptions of the mother figure in contemporary society. Finally, the last chapter aims to extend representations of the 'Korean family' to include films by/about those currently living outside of Korea, namely Korean emigrants and adoptees.

Cette recherche est une étude sur les débuts de l'histoire du cinéma en Corée des premières projections de films dans ce pays jusqu'en 1935, année pendant laquelle les Coréens ont commencé à produire des films parlants. Dans la première partie, nous avons étudié l’arrivée du cinéma en Corée, quand et par qui il a été introduit dans ce pays. Puis, quels films ont été vus par le public coréen et quels effets ils ont produits sur ce public.Dès les premiers temps du cinéma, chaque région du monde a essayé de surmonter les manques du film muet. Aussi, la deuxième partie s’intéresse à la particularité de la projection des premiers films muets en Corée. Le mot « spectacle cinématographique » se réfère, d’abord, à la représentation de films dans les premiers temps des débuts du cinéma. Le spectacle cinématographique sous-entend la possibilité d’un accompagnement supplémentaire, surtout sonore. En effet, les premiers films étaient « muets » et le moyen de mettre du son sur la pellicule n’avait pas encore été trouvé. De plus, souvent, il y avait aussi un concert ou un court spectacle secondaire (clown, bonimenteur, etc.) pendant, avant ou même après la projection des films. Cet ensemble autour de la projection de films représentait un véritable « spectacle cinématographique ». Nous avons étudié ce spectacle mixte présenté depuis 1919 à Séoul en Corée, et qui combine concert, projections de films, théâtre occidental moderne et boniment appelé Chosŏn Sinp'a Hwaltong Yŏnswaegŭk ou Chosŏn Kino-drama.Dans la troisième partie, nous avons présenté et analysé les données sur les films muets coréens dont nous avons pu retrouver les traces. / This research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces.