Feminism reboot: Korean cinema under neoliberalism in the 21st Century

Heeju Sohn
{"title":"Feminism reboot: Korean cinema under neoliberalism in the 21st Century","authors":"Heeju Sohn","doi":"10.1080/17564905.2020.1840031","DOIUrl":null,"url":null,"abstract":"ABSTRACT This paper examines recent feminist movements, which I am grouping together under the term ‘feminism reboot’, in the context of South Korea’s neoliberalization, with a focus on misogyny levelled against women. It first traces the emergence of social media-based feminism in Korea, following the democratization and market liberalization since the late 1980s and subsequent Korean films that used to showcase more diverse types of female characters up until the mid-1990s. But as misogyny intensified after the 1997 economic crisis, film narrative increasingly revolves around male characters, while female characters often disappear. This trope could be seen to register the gendered nature of Korean society that resulted from the rapid acceptance of neoliberal values in the aftermath of the 1997–98 Asian financial crisis. This paper compares and contrasts the romantic comedies of the 1990s, such as Marriage Story (Gyeolhon yiyagi, Kim Eui-seok, 1992), Mister Mama (Misteo mamma, Kang Woo-suk, 1992) and the comedy of the 2010s, including Sunny (Sseoni, Kang Hyeog-cheol, 2011) in order to demonstrate how the economic crisis not only re- legitimized the gender hierarchy and has further affected the cinematic representation of gender, taking away female agency in the latter period.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"12 1","pages":"98 - 109"},"PeriodicalIF":0.0000,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2020.1840031","citationCount":"2","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Japanese and Korean Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17564905.2020.1840031","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 2

Abstract

ABSTRACT This paper examines recent feminist movements, which I am grouping together under the term ‘feminism reboot’, in the context of South Korea’s neoliberalization, with a focus on misogyny levelled against women. It first traces the emergence of social media-based feminism in Korea, following the democratization and market liberalization since the late 1980s and subsequent Korean films that used to showcase more diverse types of female characters up until the mid-1990s. But as misogyny intensified after the 1997 economic crisis, film narrative increasingly revolves around male characters, while female characters often disappear. This trope could be seen to register the gendered nature of Korean society that resulted from the rapid acceptance of neoliberal values in the aftermath of the 1997–98 Asian financial crisis. This paper compares and contrasts the romantic comedies of the 1990s, such as Marriage Story (Gyeolhon yiyagi, Kim Eui-seok, 1992), Mister Mama (Misteo mamma, Kang Woo-suk, 1992) and the comedy of the 2010s, including Sunny (Sseoni, Kang Hyeog-cheol, 2011) in order to demonstrate how the economic crisis not only re- legitimized the gender hierarchy and has further affected the cinematic representation of gender, taking away female agency in the latter period.
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
女权主义重启:21世纪新自由主义下的韩国电影
摘要本文考察了最近的女权主义运动,我将其归类为“女权主义重启”一词,在韩国新自由主义的背景下,重点关注针对女性的厌女症。它首先追溯了韩国基于社交媒体的女权主义的出现,自20世纪80年代末以来的民主化和市场自由化,以及随后的韩国电影,直到20世纪90年代中期,这些电影一直在展示更多样类型的女性角色。但随着1997年经济危机后厌女症的加剧,电影叙事越来越多地围绕男性角色展开,而女性角色经常消失。这种比喻可以被视为反映了1997-98年亚洲金融危机后韩国社会对新自由主义价值观的迅速接受所产生的性别本质。本文比较了20世纪90年代的浪漫喜剧,如《婚姻故事》(Gyeolhon yiyagi,Kim Eui-seok,1992)、《妈妈先生》(Misteo mamma,Kang Woo-suk,1992)和2010年代的喜剧,包括Sunny(Sseoni,Kang Hyeog-cheol,2011),以证明经济危机不仅使性别等级制度重新合法化,而且进一步影响了性别的电影表现,夺走了后期的女性代理权。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 去求助
来源期刊
Journal of Japanese and Korean Cinema
Journal of Japanese and Korean Cinema Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.60
自引率
0.00%
发文量
16
期刊介绍: Journal of Japanese and Korean Cinema is a fully refereed forum for the dissemination of scholarly work devoted to the cinemas of Japan and Korea and the interactions and relations between them. The increasingly transnational status of Japanese and Korean cinema underlines the need to deepen our understanding of this ever more globalized film-making region. Journal of Japanese and Korean Cinema is a peer-reviewed journal. The peer review process is double blind. Detailed Instructions for Authors can be found here.
期刊最新文献
Rescuing film culture from the nation: Japanese cinema in South Korean cultural journalism of the 1980s and 1990s Still chasing reconciliation: the 2002 Japan–Korea co-productions of the television drama Friends and the opera Chun Hiang ‘Say my name’: Slam Dunk , the importation of manga in South Korea, and post-crisis nostalgia in East Asia Real pigs and fake humans: rethinking realism in Yeon Sang-ho’s ‘The King of Pigs’ and ‘The Fake’ A journey through the ‘Hosoda sphere’: digital worlds in Mamoru Hosoda’s animation
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1