The
usual female archetype in the film is the image of woman being mistreated,
abused and silenced. When given the chance to speak, they will be shut up by a
certain force or by fear. At the start of the film, there’s Erika who enjoys
the company of his soon-husband-to be, until they encounter a group of
criminals who beat them. Another woman is seen in the film that was killed by
his partner. She is identified to reveal the criminal acts of his husband but
was found dead. Another girl who appeared in the film is Chloe, the prostitute. In terms of the archetypal shift, Erika’s character did the greatest move to
leave the archetype of a woman that is abused and mistreated. She decides to
take justice in his hands compared to the detective who has literally the just
to kill in his hands. In the film, Erika’s character is dominant than
Detective Mercer. Female archetypes are those women who are always passive, but
here Erika is more dominant than all the characters especially Mercer. Her
archetypal shift is visible when she first shot the gun in a convenient store. Her
hands are shaky when she first shot the gun, but during her second shot in the
train, it naturally comes within her. She seems to be another person, there’s
no one stopping her, it becomes a natural act whenever she feels mistreated. There
are certain scenes that make Erika’s character hesitant to change like the
scene where she goes to the police and turns herself in, inquiring a homicide
by Erika Banes. The police officer said that there is no Erika Banes, but she
insisted that there should have.The
shifts are significant in the narrative to imply the coping stage of Erika. It
slowly peels of Erika’s fear one by one until she becomes another person, a
character that is ready to defend herself, that is out of the ordinary, beyond
the female archetype. But I think, the ending scene is vague. Erika submits
herself to Detective Mercer, she handed her gun to Mercer. But the twist is
Mercer gives Erika his “legal gun” making Mercer’s character active and Erika
becomes passive.
What will happen if two different cultures clash? Alienation, curiosity, and adaptation shall arise. The King and I gives us the many differences between the East and the West. Anna comes to Siam to teach English and American culture and customs to the people of Siam.
Siam represents the East while Anna’s beliefs, mannerism, etc. represent the West. The East is known for its many religions, one would be Buddhism. The Western, on the other hand has Christianity. There are certain differences in the belief system of the two. In the film, women are property in Siam. Tuptim is a beautiful woman and is also a present to the King of Siam from the Price of Burma. She becomes the property of the king of Siam and obliged to abide to the King’s law. She is forbidden to leave the palace. Polygamy is alright to the East. The King of Siam has many wives and children. “A woman is designed to please man. Man is designed to be pleased by many women,” that is what the King said. The King when asked how many children he has. He answers that he has a hundred and sixty seven and he’s expecting more (5 or so). Christians / West on the other hand believe that for a man to be happy, he has to fall in love and remain faithful to one woman. Anna says that “For a man to be happy, he must love one woman and one man only.” Monogamy is what the Westerns believe.
The East is also represented as uncivilized while the West is represented as scientific. The East wants to become like the West, to have technological advancement. The East seems to be very adaptive of Western culture. It seems that Siam is willing to give up their culture and tradition in order to achieve what the West has. During a party, all the Siamese women dress English costumes. The dining and menu are all English. Anna suggests to the King that it will be better if the one they will show would be what Siam really is (its delicacies, costumes), but the King insists that he wants them to look and become English.Western are more scientific.
In the East, there is the concept of monarchy; the King has the right to do anything to his people. He is then described to be barbaric. He has slaves and silences people not to speak out their views. The West has their democracy, where everyone is equal and Anna best represents this. Anna is free. Anna is able to say what she wants to say not fearing what the King will do to her. The King is surprised of her and says that she is a very difficult woman. The West is more expressive and free to say that they love someone. Anna’s son is very open to question her about anything, while the children of the King have limited talking time because the children always bow to him and have a minimum time to get real close. Human rights are valued by the West while in the East, there is no freedom. The little prince asked Anna, “How slaves are set free if their masters wish to keep them?” She answers that it would be possible by passing and enforcing a law. One of the most memorable line in the film would be “The question is not of what we want but what is right.” Slavery is still enforced in Siam until in the end of the film when the new King proclaims that there will be no slaves and bowing.
The concept of being independent in the West is very dominant. This is the reason why Anna insists on having a separate house included in the agreement. The East has the notion that why leave if you can all stay together. All the wives and children of the King live on the same roof. Thus, Anna is surprised in the beginning and said that she wants a little privacy when all the women come in to her room.
This film is not a story about love, but I really hoped that Anna and the King had stayed together and the King didn’t die. What the film’s story all about is valuing and giving importance to each other’s belief and culture even if they are very different and contrasting each other.
Third cinema is the cinema that recognizes in that struggle the most gigantic cultural, scientific, and artistic manifestation of time, the great possibility of constructing a liberated personality with each people at its starting point – ina word the decolonization of culture.
- Fernando Solanas and Octavio Gettino
Third cinema would be those films that fight the System, those which turn their back on and oppose the System. One film that fits the characteristics of third cinema is the work of Kidlat Tahimik, entitled Mababangong Bangungot.
Third cinema is deconstructive and constructive. Mababangong Bangungot is deconstructive in such a way that it does not belong to any genre. It also destroys the fantasy of imaginary bourgeois universe (Kidlat’s concept of a beautiful and progressive Paris and New York) and the concept of the masses as lazy, indolent and dangerous (the people of the barrio are simple individuals; they are peaceful and very hard-working). It constructs living reality which recaptures truth. At the end of the film, Kidlat realizes the consequences of the promise of pasture and progression of the Americans and he is exposed to the real outcome of progress.
In the film we are shown that the place is a colonized territory. The film showed two sides of the world, the simple barrio where Kidlat came from and the progressive city of Paris. When Kidlat came to Paris, he couldn’t believe what kind of world lies out there. He even asked his mother in his letter why their country can’t have progress like that of Paris.
Documentary is perhaps the main basis of revolutionary film-making. Mababangong Bangungot does not belong to any genre. It is more of a documentary which uses the thoughts of Kidlat Tahimik as narration (voice of God). It is not particularly conscious of the mise-en-scene, the construction of its framing and composition. It is like different kinds of footages tied up together with narration.
Revolutionary cinema provides discovery through transformation. Kidlat transforms himself at the latter part of the film. At the beginning, he is an avid fan of the Americans especially Wermer von Braun. “In America, I could become an astronaut; here I am only a jeepney driver.” These were the lines of Kidlat when asked why he admired America that much. In order to impose itself, neo-colonialism needs to convince the people of a dependent country of their own inferiority. In the end, Kidlat breaks this by insisting that he does not want to go to America, and he’ll choose his own vehicle no matter what. Third cinema should not only interpret the world, it should change it. “If the small chimneys worked, why the super chimneys? If the small markets worked, why supermarkets? If small airplanes worked, why super flying machines?” In this part of the film, Kidlat starts to question the concept of progress. He even starts to question his liking for the Americans. In the end, he starts to resist progress and the promise of green pastures in America. He chose his vehicle and chose his bridge.
“I am Kidlat Tahimik, I choose my vehicle and I can cross all bridges.””When the typhoon blows off its cocoon, the butterfly embraces the sun. The sleeping typhoon must learn to blow again.” These are some of the recurring lines in the film. There are so many poetic lines but these are the most significant ones. At first Kidlat’s father blew the strong wind to fight the Americans, and in the end Kidlat also learn to fight and blow really hard to destroy such a big myth about progress and his admiration to the Americans.
My fascination with Korean Cinema started when I first saw "The Classic." I also watched "My Sassy Girl" and "Windstruck" consecutively. Little did I know, that all of those films I had watched was directed by one person. The person all behind these amazing films was Director Kwak Jae Yong or Director Kwak Jae Young. It is because of him that I appreciated watching films in a different perspective. To date, I had watched almost all of his films. I would like to share this "kilig" experience by citing his filmography. Kudos to Kwak Jae Yong! May he continue to make awesome romantic comedy films!
곽재용
Kwak Jae-yong (born 22 May 1959) is a South Korean film director and screenwriter. He studied physics at Kyunghee University. He achieved success with his debut film Watercolor Painting in a Rainy Day in 1989, but the failure of his next two movies led to eight years of unemployment before a comeback with the smash-hit film My Sassy Girl in 2001. He is known for his limitless fondness of love stories set in a mix of different genres.
In every single film he does, director KWAK’s main interest is “love.” Not just any love but pure, innocent and platonic feeling of love. He successfully captured the heart of the audience by showing comical and lovable characters and their touching love story in MY SASSY GIRL. In THE CLASSIC, by showing two different but connected love stories of two generations, he pulled out the memories of first loves everyone had or wants to have. Now, he is one of the best directors who can express love story in a way that both young and old generations can feel emotionally attached.
Watercolor Painting in a Rainy Day(1989) - director & writer
Autumn Trip(1992) - director & writer
Watercolor Painting in a Rainy Day 2(1993) - director & writer
My Sassy Girl(2001) - director & writer
The Romantic President (2002) - writer
The Classic (2003) - director & writer
Windstruck(2004) - director & writer
Ark(2004) - story
My Girl and I (2005) - writer
Daisy (2006) - writer
My Mighty Princess (2007) - director & writer
Cyborg She(2008) - director & writer
All About Women (2008) - writer
The Piano in a Factory (2010) - collaborating director / executive producer
He also did cameo appearance in these films:
All About Women (2008) as Korean man in a restaurant
My Sassy Girl (2001) as Covered Cart Bar Customer
My Sassy Girl (2001)
Based on a series of true stories posted by Ho-sik Kim on the Internet describing his relationship with his girlfriend. These were later transformed into a best-selling book and the movie follows the book closely.
As the film opens we are introduced to Kyun-woo, a kind-hearted but at times naive college student who seems to keep getting into trouble. On his way home one night he encounters a beautiful but completely smashed young woman who causes a scene in the subway, calls him "honey", and then passes out. With the eyes of the other subway passengers upon him, he has little choice but to take responsibility for her. Thus begins his relationship with the at-times charming, at-times violent damsel who steals his heart.
Much of the film is structured around the bizarre antics of Kyun-woo's newfound girlfriend. After she passes out yet again, Kyun-woo looks at her blissful face and promises to himself that he will save her, and right whatever it is that troubles her. This proves to be much more of a challenge than he expects.
Synopsis
Ji-hae and Soo-kyoung are friends attending the same university and both have a crush on Sang-min who is in their drama club. The more clamorous and outgoing of the two, Soo-kyoung, asks Ji-hae to do her a favor - write a love letter to Sang-min. Ji-hae pours out her own feelings for him on paper, but sadly in her friend's name. Touched by the letter, Sang-min is attracted to Soo-kyoung, and Ji-hae, feeling uncomfortable and even guilty, tries to avoid him. And yet by coincidence or by fate she keeps running into him.
Ji-hae has lived alone with her mom since her childhood, when her dad unexpectedly passed away. Her mom is now on a trip abroad, and to wile away her solitude she starts cleaning the attic. There Ji-hae finds a secret box, in which her mom kept the memorabilia of her first love story of some decades past.
Summer in 1968...
Joon-ha is visiting his uncle's home in the countryside during his summer vacation. There he meets Joo-hee and falls in love at first sight. One day, the lovely Joo-hee secretly asks Joon-ha to escort her to a haunted house in the village. Happy and excited to be at her service, Joon-ha meets her at their promised spot. But in an unexpected storm, the two lose their boat and barely manage to return home at a very late hour. Joo-hee gets into big trouble for this incident and is sent back to Seoul. Having parted with Joo-hee without a word of farewell, Joon-ha spends the rest of the summer heavy-hearted.
With summer vacation being over Joon-ha also returns to Seoul. At school, his classmate Tae-su asks him to write a love letter to send to a girl. And who would it be but Joo-hee, Joon-ha's dream girl. Unable to confess his own summer love story, Joon-ha reluctantly complies with his friend's request.
International Film Festivals
2003 Yubari International Fantastic Film Festival ,
2006 Chennai International Film Festival, Country Focus -Korea
2004 Philadelphia International Film Festival, New Korean Cinema
2003 Cairo International Film Festival ,
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Windstruck (2004)
When police officer Kyungjin met with Myungwoo accidentally in a crime, she found that this responsible teacher was a really nice guy. At that night, Kyungjin got into a fight with a bunch of high school kids and got trouble in a big gun fight between rival drug dealers. Myungwoo tried to help her but then something happened that forces them stayed together all day long. They got closer to each other and Myungwoo was not able to repulse the strange but pure nature. He fell in love with her. One day, when Kyungjin was chasing a notorious criminal, Myungwoo helped her again, however, not knowing that what would happen that day changed their relationship forever.
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Ark (2004)
The population of the planet Alcyone is split in two; the cultures of the Ceveans and the Storrions are locked in eternal war, destroying their home. Led by their priestess Amiel, the Ceveans constructed the Ark in an attempt to flee their world, but the Ark was ceased by the Storrions, enslaving some of the Ceveans and banishing the rest to the wastelands. The priestess Amiel vanished. Too late the Storrions realized that they needed the priestess to move the Ark and so they keep searching the wastelands for a sign of her... Building on the techniques of "Final Fantasy: The Spirits Within" and enriching them with a unique storyline, this South Korean animation draws you into the world of Alcyone to witness the struggle between Ceveans and Storrions and a world in ruins.
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My Girl & I (2005)
Parang-juuibo (aka "My Girl and I")is the 2005 Korean remake to the Japanese movie "Crying Out Love, In the Center of the World." Su-ho (Tae-Hyun Cha), a simple teenager, and Su-eun (Hye-Gyo Song), a pretty and popular girl, start dating. Their love for each other seems eternal. By leaving messages to each other on the phone, and through their many times together, their love grows stronger. Until a tragic event occurs.
An elite Interpol agent Jeong-woo and a ruthless hitman Park-yi, both stationed in Amsterdam and are in love with the same young woman, Hye-young. Hye-Young is a simple sidewalk artist, with dreams of one day holding a real exhibition in a real gallery. Her pure love will draw these deadly men into a spectacular showdown in the process, revealing Hye-Young¡¯s hidden past.
KANG So-hwi, a beautiful martial arts prodigy, is about to embark on a journey into adulthood. But her journey is like no other. Her super-human strength and martial arts prowess scares away her fellow undergrads and even the boy she has fallen for. Devastated, So-hwi decides to give up martial arts and takes a different path. Her father, a martial artist himself, is afraid of losing an heiress to the family’s martial artistry, and missions So-hwi’s old buddy Il-young to persuade her to stay in the field. Meanwhile, the evil Heuk-bong provokes a war to conquer the martial arts world with the legendary Fine Blade he stole in the past, killing every swordsman one after another. So-hwi’s father comes to a showdown with Heuk-bong, but the battle leaves him fatally injured. On the brink of her father’s death, So-hwi picks up a sword again with a burning desire for revenge.
Original Japanese title : "僕の彼女はサイボ-グ" (Boku No Kanojo Wa Saibogu)
"Cyborg She" is a coproduction between South Korea and Japan
Alternative titles : "Cyborg Girl", "My Girlfriend is A Cyborg"
Synopsis
Lonely geek Jiro (Koide) is no longer so lonely when a female cyborg (Ayase) crashes his birthday party. She has traveled back in time from the year 2133, to help him and all of humanity. She also has his ex-girlfriend's pretty looks. Jiro starts falling for the lovely robot and experiences a series of strange events brought on by her superhuman strength.
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All About Women / Not All Women Are Bad (2008)
A series of intertwining stories focus on the lives and transformations of three women. NOT ALL WOMEN ARE BAD, a comedy on modern metropolitan life that is being done from an unforeseeable perspective, is set against the backdrop of the rapidly developing city of Beijing. It takes a look at three women of different professions and backgrounds, and presents a contemporary comedy from the way they deal with love. In this chic comedy, Zhou Xun transforms from gentle to captivating, playing 12 roles in the movie including a doctor, a patient, a reporter, and more. Kwai Lun-mei transforms from innocent to rock-and-roll, while Kitty Zhang from girl-next-door to rich coquette.
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The Piano in a Factory (2010)
The Piano in a Factory
Executive Director – Kwak Jae-yong Producer - Jessica Kam-Engle Producer - Choi Kwang-suk Director’s Biography – Zhang Meng Role: Artist: Chen Guilin Wang Qian-yuan Shu Xian Qin Hailu, Amanda Xiao Ju (mother) Jang Shin-yeong Xiao Yuan (daughter) Liu Xing-yu Big Liu Zhou Kwei Brother Ji Luo Er-yang Fat Head Liu Qian Wang Kangmei Tian-yu Lightening Fingers Guo Yong-zhen Mr. Wang Wang Zao-lai Brother-in-law Xu Jiang-yu
Synopsis (various lengths)
Plot:
To fight for custody of his daughter who loves playing the piano, a steel factory worker decides to make a piano from scratch soliciting the help of a bunch of unaccomplished fellow workers. Can they do it? Will he win his daughter back after all he has done for her?
synopsis:
The wife who has left the family suddenly comes back into Mr. Chen’s life, asking for a divorce and custody of their daughter. Refusing to choose sides, the daughter decides to live with the parent who can get her a piano. Chen tries to borrow money, and even attempts to steal a piano from a school music room, but all efforts fail. Without any other means, Chen decides to make the piano from scratch. He persuades a group of unaccomplished - but loyal - friends to help him cobble together a piano in a derelict factory from a little scrap steel and a lot of ingenuity. After overcoming many hurdles, Chen’s piano project takes shape while his wife fights vigorously with the courts for custody of their daughter. Unexpectedly, Chen ends the project and let his girl go to her mom so she can get a better life. But his troupe of factory misfits decides to forge ahead with the project. Though crude in design and tune, the factory piano is finally finished - awaiting its first and final performance.
Director’s Biography – Zhang Meng
Born in Fa Ku Xian, Liao Ning Province, China in 1975, Zhang Meng (张猛) graduated from China Central Academy of Drama in 1999, majoring in stage art. As a director at Chang Chun Film Studio, he has worked in film and television screen-writing and directing for years. In 2007, he made his directorial debut with the feature Lucky Dog which earned him the Asian New Talent Award at the 10th Shanghai International Film Festival and the Best New Director Award at the Chinese Media Awards 2009. The film was ranked the 14th Best Film in China by the Film Critics Awards in 2009, and he was ranked the 7th Best Director. Zhang also directed his first documentary Mr. Zhang and His Dog in 2008. In 2010, he wrote and directed the feature film The Piano in a Factory.
