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Figures of the Other in South Korea cinema present more. This article wishes to assess the increasingly diversified regimes of otherness as represented in South Korean cinema, which assumes on the fictional level a heterological debate only timidly addressed in the public sphere. In order to The Representation of the borders in Korean cinema present more.
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Cinema is an ideal material for the analysis of heterological discourse in society. In South and North Korea, collective imaginary has But the Sunshine Policy era , which initiated a decade of dialogue between the two countries, accompanied with the Korean Wave phenomenon, also witnessed a tremendous change in these representations in South Korea. Slowly emerged in movies more complex regimes of otherness, which not only enriched the figure of the North Korean other, but also made room for other others to appear.
In this heterological discourse developed by popular culture products such as films, the border is not only a material line separating two states. It is a specific symbolic device which articulates the South Korean collective psyche with the North, with the world and even with itself, following a series of defined tropes. This article wishes to assess these diversified symbolic functions given to the border and the frontier in contemporary South Korean imaginary.
This study, for the sake of unity, will focus on twenty movies produced during and after the Sunshine Policy era. View on m. Paper about the "Other Others: regimes of otherness in South-Korean cinema after ". The representation of nature and science in North Korean cinema more. The myth of science and rational knowledge as the driving forces of human progress has been differently addressed by the various modern positivisms.
It has a special significance and place in Marxist ideologies Alfred Schmidt, ; It has a special significance and place in Marxist ideologies Alfred Schmidt, ; Lucian Boia, , where scientific knowledge is the mediation between man and nature in the perspective of materialist dialectics. My aim in this paper is to study the North Korean movies dealing with the intricate question of the socialist man applying his domination on nature through science in order to produce a human landscape where to read his self-realization as a Juchean individual, both independent and community-oriented.
I would like to apply a lecture of this cinematographic narrative using the Juche theory point of view, and comparing it to the Marxist and Soviet theories of nature, in order to define the specificity and also the differences and contradictions of the Juche thought compared to its sources. In doing so, instead of applying a critical reading based on another episteme, I would like to investigate North Korean theory of nature from the inside and replace it in a larger history of ideology. My analysis will begin with a classical semantic investigation of the concepts in Marxist and Juchean contexts, followed by a comparison with their uses in North Korean cinematographic narratives.
Durand, and alii. This article will therefore be an expansion from a research on Korean imaginary through cinematographic works begun with my doctorate thesis defended in June I have a large data base of research composed of 80 North Korean movies from the s to the present, among which I will chose a dozen of the most representative features for this topic.
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As the leader said, the Juche idea is based on the philosophical principle that man is the master of everything and decides everything. By his independent, creative and conscious activity, man continuously transforms nature and society, changing as he desires what does not meet his needs, and replacing what is outdated and reactionary with what is new and progressive. In the perspective of Juche Idea itself, natural landscapes, rural areas and cityscapes are the mirrors of the Jucheisation of a country.