|Assignment ID Number||AFFGEHU83939HD|
|Type of Document||Essay|
Understanding Korean Society and Women through Films schoolwork
Each essay should be 3-4 pages in length (double-spaced, 12-point font, with 1-inch
margins). Your essay must tie together your answers to the separate questions within each prompt into a coherent, organized essay based on a central argument and analysis supported by your discussion of the films AND readings.
Be sure to refer to specific characters, lines, and scenes from the selected films as well as pertinent secondary sources (outside research is permitted).
Time codes are not necessary, but please do quote from the subtitled dialogue. All sources must be cited in footnotes and you must also have a bibliography.
I have all of the reading pdf. I can send pdf through email.
Movies are on the Youtube (I put address at the second page)
No copy and paste no Plagiarism
Need to within 50hr but always soon is the better.
2~3 quote from film(out of 4), 2~3 from reading(out of 8 reading) and 1 from outside research)
At least 3.5pages
Select two films from Weeks 3 and 4 and discuss how the key female characters break from conventions in the pursuit of self-identity. Be sure to place the fictional characters in the context of factual, contemporary South Korea.
The Unending Korean War
How do women and families continue to be impacted by the unending nature of the Korean War? How does Kilsotteum (길소뜸, Kilsottŭm, 1985, Im Kwon-taek) portray the ongoing tragedy of war?
View in advance on https://www.youtube.com/watch?v=_by9vE3trI8
– Oh Young Suk, “Gilsotteum: Pioneer Film-making in the Narrative of Familial Separation and National Division in Korea,” in Korean Film Archive, ed., Women on Screen:
Understanding Korean Society and Women through Films (Seoul: Korean Film
Archive, 2012), 195-219.
– James A. Foley, Korea’s Divided Families: Fifty Years of Separation (New York: Routledge,
W 8/22 Urban Working-Class Women
What kind of difficulties do young working-class women face? What do the protagonists of want for themselves?
Take Care of My Cat (고양이를 부탁해, Koyangi rŭl put’akhae, 2001, dir. Jeong Jae-eun)
– Chi-Yun Shin, “Two of a Kind: Gender and Friendship in Friend and Take Care of My Cat,” in Chi-Yun Shin and Julian Stringer, eds., New Korean Cinema (New York: New York University Press, 2005), 117-131.
– Hyemee Kim, Jin Gyung Lee, Byung Chul Lee, and Soyoung Kim, “Understanding the Life of Chinese Immigrants in Korea: Forgotten People in the Land of Multiculturalism,”
Asian Social Work and Policy Review 11 (2017): 184-192.
How are conventional gender roles treated in My Sassy Girl (엽기적인 그녀, Yŏpki chŏgin kŭnyŏ, 2001, dir. Kwak Jae-young)?
– Jinhee Choi, “I’m Not a Girl, Yet Not a Woman: Contemporary Korean Romance Films,” in
The South Korean Film Renaissance: Local Hitmakers, Global Provacateurs
(Middletown, CT: Wesleyan University Press, 2010), 85-115.
– Choe Sang-Hun, “Korean Matchmaking Tradition Goes High Tech,” The New York Times
(June 5, 2007).
How are women prisoners depicted in Harmony (하모니, Hamoni, 2010, dir. Kang Daegyu)?
View in advance from Box
– Youngki Woo, Rubin Lu, and Mary K. Stohr, “Social Support and the Gendered Experience
of Incarceration in South Korean Prisons,” Journal of Ethnicity in Criminal Justice
14.3 (2016): 172-194. https://doi.org/10.1080/15377938.2016.1144544
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