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On the Road, Two Kim Tae-yong My Own Breathing This documentary by Byun Young-joo is the final chapter of a trilogy documenting the present and past lives of "comfort women" who were abducted and forced into sexual servitude by the Japanese army in World War II.
At the same time, the films have drawn praise for their aesthetic and emotional power. Byun states that when she first contacted a group of comfort women and asked if she could film them, they refused emphatically.
It was only after living together with them for one year that the director gained their trust and permission to make a film.
This first documentary portrays the women leading their weekly protests at the Japanese embassy and fighting to overcome the sense of shame that has been planted within them and reinforced by an uncaring public. Habitual Sadness was initiated at the request of the women, who asked that Byun film the last days of a group member who had been diagnosed with cancer.
In this film we see the women gaining self-confidence, eventually moving behind the camera themselves to utilize the medium of film as a means of both protest and healing.
In My Own Breathing, we are introduced to a new character who was taken forcibly into service at 14 years old.
In the picture above, she is interviewed by another former comfort woman, who was shown in earlier films and who underwent many of the same experiences.
The director understands that as heart-rending as the accounts of forced prostitution may be, we can only come to understand these women by focusing on their present. Some of the most shattering moments in the film come about unexpectedly; small details that reveal the humor and personality of these women who survive years after the wreckage of their youth.
Directed by Byun Young-joo. Produced by Shin Hye-eun. Cinematography by Byun Young-joo, Han Jong-gu. Editing by Park Gok-ji. Screened at the Pusan International Film Festival. Released in Korea on March 18, Being Normal Walking hand in hand with the rise of Korean Cinema has been a rise in the presence of sexual minorities in Korean films.
Being Normal documents the friendship between Choi and her roommate and classmate, J, a Hermaphrodite. As evidenced in one of the sentences in the above paragraph, the English language presents difficulties when talking about Intersexuals. Which possessive pronouns do I use to describe J when I need to avoid grammatical gymnastics?
Is "he" or "she" "he" or "she"? Will the grammar police just learn to deal with the natural state of language change and allow us to appropriate the third person plurals, "they," "their," and "them" for reasonable use here? Similar problems will be present for the viewer who knows Korean.
And this brings up one of the most discomforting aspects of this film, the voyeurism. Understandable considering the obstacles against which J must battle, for a brief time J had asked that this film not be shown, waning back and forth on his comfort level regarding the finished product.
She makes herself the occasional object of her own gaze. And in so doing, we not only see J change, but Choi. Such a moment causes us to realize how often each of us engages in similar perpetrating of our own image.
That is, if we are comfortable challenging our own attachments to gender. And, later, when rifts emerge in their friendship, it is commendable that Choi chooses to leave in the scenes where her reactions might be seen as less than exemplary.
Choi and J have their fun and intimate moments as well as their disagreements and betrayals. Adam Hartzell Being Normal "Pyeongbeom-hagi".Analyzing and interpreting literature clep essay huey newton dissertation schnittpunkt zweier parabeln berechnen beispiel essay sonnets pour helene analysis essay supply chain management essay introduction to an essay about yourself camlock coupling type essay genres for multigenre research paper critical essay the american president film.
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After proposing a theory of reception study, the author demonstrates its application mainly through analyzing the varying responses of audiences to certain films at specific moments in history. Staiger gives special attention to how questions of class, gender, sexual preference, race, and ethnicity enter into film viewers' interpretations.
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