13. Laterna Film AkadAi??mia

KAi??pkivA?gA?s

A ai???SZAi??LSA?SAi??GES MOZIai??i?? Ai??S A FILM ai???TESTEai??i??

SZUBVERZA?V KAi??PEK Ai??S NARRATA?V STRATAi??GIA?K A KORTA?RS KOREAI FILMBEN

13. Laterna FilmakadAi??mia

2012. mA?rcius 26-31, PAi??cs

SzAi??nhA?z tAi??r 2.

 

Koreai kulturA?lis hAi??t

CsA?tAi??rtAi??kAi??n, pAi??nteken Ai??s szombaton kA?lAi??nleges koreai, magyar Ai??s afrikai Ai??telek kerA?lnek felszolgA?lA?sra

HAi??tfAi??

18.00 Park Chan-wook: A bosszA? ura

(Boksuneun naui geot) magyar felirattal

20.00 Kim Ki-duk: Isle (Seom) 2000, 90ai??i?? magyar felirattal

 

Kedd

18.00 Kim Ki-duk: A szamaritA?nus lA?ny (Samaria) 2003, 104ai??i?? magyar felirattal

20.00 Jeon Jae-Hong:Ai?? Beautiful 2008, 88ai??i?? 97ai??i??

angol felirattal

Szerda

18.00 Kim Ki-duk: IdAi?? (Shi gan) 2006, 97ai??i??Ai??magyar felirattal

20.00 Hun Jang: Rough Cut (Yeong-hwa-neun yeong-hwa-da) 2008, 113ai??i?? angol felirattal

CsA?tAi??rtAi??k

A KOREAI FILMRENESZA?NSZ Ai??S HA?TTERE/ THE KOREAN FILM RENESSAINCE AND ITS BACKGROUND

ModerA?tor: Turnacker Katalin

9.30 ai??i?? 10.00Ai??Ai??Ai??Ai??Ai??Ai?? DAi??l-koreai animA?ciA?s filmek ai??i?? Wondeful Days

CsA?szA?r Andrea MA?ria (PTE BTK)

10.00 ai??i?? 10.30 TendenciA?k Ai??s vA?ltozA?sok a dAi??l koreai thriller mAi??fajA?ban

KISS GellAi??rt (PTE BTK)

Az elAi??adA?s fAi?? tAi??mA?ja a vA?ltozA?s: az egyes tAi??mA?k, mAi??faji sAi??mA?k hogyan alakultak A?t, az erAi??szak kAi??pi megjelenAi??tAi??se hogyan radikalizA?lA?dott. A legfrissebb alkotA?sok jegyAi??ben felvetAi??dik a mAi??faji keretek problAi??mA?ja is, megfigyelhetAi?? egy sajA?tos mAi??fajkeveredAi??si tendencia, amiben a thriller mAi??faja egyre inkA?bb a horror Ai??s az akciA?film jegyeiben oldA?dik fel.

 

10.30 ai??i?? 11.00 LokA?lis Ai??s globA?lis sikerek:

A dAi??l-koreai filmreneszA?nsz intAi??zmAi??nyi hA?ttere

TESZA?R DA?vid (Koreai KultA?rA?lis IntAi??zet ,Budapest)

Az elAi??adA?s cAi??lja, hogy az 1980-as Ai??vek mA?sodik felAi??tAi??l napjainkig bemutassa azokat a hA?ttAi??rtAi??nyezAi??ket, amelyek hozzA?jA?rultak a dAi??l-koreai film ezredfordulA?s konjunktA?rA?jA?hoz. Az elAi??adA?s a koreai filmtAi??rvAi??nyrAi??l, azok mA?dosAi??tA?sairA?l, a filmfinanszAi??rozA?si Ai??s filmforgalmazA?si struktA?ra radikA?lis A?talakulA?sA?rA?l Ai??s a helyi filmkvA?ta szerepAi??rAi??l szA?l, mikAi??zben definiA?l olyan alapfogalmakat, mint a koreai A?j hullA?m, az A?j koreai film Ai??s a koreai hullA?m (hallyu).

 

11.00 ai??i?? 11.30Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai?? Az identitA?skAi??pzAi??s testi vonatkozA?sai Kim Ki-duk filmjeiben

VINCZE TerAi??z (ELTE University, Budapest)

Kim Ki-duk mAi??veit tAi??bb szempontbA?l is kifejezetten szenzoriA?lis-testi irA?nyultsA?gA? filmeknek tekinthetjA?k. MegnyilvA?nul ez a befogadA? ai??zzsigeriai??? jellegAi?? megszA?lAi??tA?sA?val pA?rhuzamosan a filmek tematikus motAi??vumaiban is, pAi??ldA?ul ahogyan a szereplAi??k testisAi??ge az Ai??nkifejezAi??s, a kommunikA?ciA? sorA?n az (igencsak hiA?nyos) nyelvi kifejezAi??smA?dot kiegAi??szAi??ti/felvA?ltja. Az elAi??adA?sban annak bemu-tatA?sA?ra teszek kAi??sAi??rletet, hogy az identitA?skAi??pzAi??s Ai??s a testisAi??g mikAi??nt kapcsolA?dik Ai??ssze ebben a kontexusban.

 

11.30 ai??i?? 11.45Ai??Ai??Ai??Ai??Ai??Ai?? KA?vAi?? szA?net

11.45 ai??i?? 13.00 Kerekasztal beszAi??lgetAi??s: A koreai film MagyarorszA?gon

angol Ai??s http://www.bibliophilia-liest.de/?p=7325 magyar fordAi??tA?sban

RAi??sztvevAi??k:Ai??Ai??Ai??Ai??Ai??Ai?? Daniel Martin, Earl Jackson, Soyoung Kim, Jinhee Choi, Hye Seung Chung, TeszA?r DA?vid (moderA?tor), Vince TerAi??z

13.00 ai??i?? 14.00Ai??Ai??Ai??Ai?? EbAi??d

14.00 ai??i?? 15.00 Trans-Cinema Reloaded:Ai?? The State of Fantasy in Emergency and Fantasmatic Others in South Korean cinema

ModerA?tor: Earl Jackson

Soyoung KIM (Korean National Univ. of Arts)

Looking at the contemporary film of South Korea, the essay attempts to understand a set of global-local issues of corporeality and migrancy in the age of cognitive capitalism by mobilizing the double structure of the state of fantasy and the state of emergency. This will enable to conceptualize Trans- cinema in the age of neo-liberalism in crisis

 

15.00 ai??i?? 15.15 Ai??Ai??Ai??Ai??Ai?? KA?vAi?? szA?net

15.15 ai??i?? 17.45 Kim, So-Young: Koryu: dAi??l-koreai nAi??k, dokumentum-trilA?gia (Georyu, 2000, 83ai??i?? ai??i?? Hwangholgyeongaka, 2002, 50ai??i?? ai??i?? Jiljuhwansang, 2004, 50ai??i??) angol felirattal

18.00 FogadA?s a konferencia rAi??sztvevAi??i szA?mA?ra

Tiszteletbeli vendAi??g:Ai?? Kwon Young Sup,

Director http://cesarina.mhs.narotama.ac.id/2018/02/12/order-colospasmyl/ of the Korean Cultural Center in Budapest

18.30 Jazz koncert: Csermann A?dA?m Quartet

19.30 Kim, Jeong: Kyung (Viewfinder) 2009, 92ai??i??

angol felirattal

21.00 Kim Ki-duk: LAi??legzet (Soom) 2007, 84ai??i?? angol felirattal

PAi??ntek

 

Ai??N Ai??S A MA?SIK: ERA?SZAK Ai??S ETIKA

9.45 ai??i?? 10.45 Otherness Becomes You: Accomodation and Self-Constitution in the films of Kim Ki-duk and Kim Kyung-mook Earl JACKSON, Jr. (Korean National Univ. of Arts) ModerA?tor: BA?kay Antal

This paper will draw on the legacy of thought regarding the Self-Other dyad from Hegel to de Beauvoir and Sartre, to Lacan and Laplanche, while situating the readings of the films within the sociopolitical history of modern Korea. The examination of the films of Kim Ki-duk will focus on the acts of accomodation to the demand of the Other, while the films of Kim Kyung-Mook be shown to dramatize the constitution of the self within the Other’s desire.

 

10.45 ai??i?? 11.00Ai??Ai??Ai??Ai??Ai?? KA?vAi?? szA?net

11.00 ai??i?? 12.00 The Dissecting of Identities in the films of Kim Kidukai???

Thorsten BOTZ-BORSTEIN (Gulf University, Kuwait)

ModerA?tor: BA?kay Antal

Critics have noticed the violence and the crude treatment of human relations in Kimai??i??s films because here people seem ai???to act out of impulsesai??? (Gombeaud, 2006:13). It will be shown that what is elaborated in Kimai??i??s films is not the split of personalities into two segments but rather a play of signifying selves and others that lets any authentic identity entirely disappear and which comes amazingly close to both Roland Barthesai??i??s and Jean Baudrillardai??i??s systems of communication.

12.00 ai??i?? 13.00Ai??Ai??Ai??Ai?? The ai???Action Kidai??i?? and the Male Body: Ryu Seung-wanai??i??s Violent Visions

Daniel MARTIN (Queen’s University, Belfast)Ai?? ModerA?tor: Jinhee Choi

 

This paper examines the reputation and thematic preoccupations of Ryu Seung-wan, charting his particular brand of action cinema and his focus on masculine violence and power. His films are riffs on various sub-genres of the action film; in each of his feature films to date he continues to experiment and develop new ideas. The paper contrasts Ryuai??i??s depictions of violence with those of other Korean auteurs well-known in the west.

 

13.00 ai??i?? 14.00Ai??Ai??Ai??Ai?? EbAi??d

 

TESTISAi??G, ARC Ai??S NAi??ZA?I HATA?S

 

 

14.00 ai??i?? 15.00Ai??Ai??Ai??Ai?? The Face(s) of Korean Horror Film: Toward a Cinematic

Physiognomy of Affective Extremes David SCOTT Diffrient

(Colorado State Univ.) Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai?? ModerA?tor: Tarnay LA?szlA?

 

Inspired by Oldboyai??i??s framing of the human face as a rhetorical object of contemplation, I seek to show how this and other Korean films solicit spectatorial participation through a kind of phenomenological engagement with the mediumai??i??s material properties. Building on Philip Brophyai??i??s theory of ai???horralityai??i?? and Gilles Deleuzeai??i??s concept of visagAi??itAi??, the talk explores how these affective extremes or emotional polarities, are the constituent features of the genre.

15.00 ai??i?? 15.15Ai??Ai??Ai??Ai??Ai??Ai?? KA?vAi?? szA?net

 

15.15 ai??i?? 16.45Ai??Ai??Ai??Ai??Ai??Ai?? I. SzekciA? ModerA?tor: Daniel Martin

15.15 ai??i?? 15.45 Contagious Sympathy: Tactile Visuality and
Traumatized Childhood in the Films of Park Chan-wook

Eunah LEE (Michigan State University)

The paper contends that the dire conditions that Parkai??i??s characters have experienced as or with a child make the viewers sympathize with the characters, in spite of their violently committed revenge. On the other hand, the tactile visuality, the stylistic excessiveness and highly visualized extreme violence not only make viewers unable to keep their aesthetic and analytical distance but also forces them to be dissolved into the immoral but emotional world of exploitation,

 

15.45 ai??i?? 16.15 Theory Goes to the Movies: the Sensorial Challenge of Korean Cinema

TARNAY LA?szlA? (University of PAi??cs)

Based on a phenomenological description of movie experience the paper contextualizes contemporary Korean cinema in terms of the visual potential of so-called new digital media. Its main asset is to show that graphic violence and bodily representation mark a crucial boundary between the medium of classical film and the new media. Korean movies are specific in assigning a formal and metaphycial role to the body which neatly contrasts with its contemporaryAi?? understandings as simulacra and avatar.

 

16.15 ai??i?? 16.45 The Deleuzian body-film-concept model in Chang-Dong Leeai??i??s cinematic art

BA?TORI Anna (ELTE University, Budapest)

While drawing the body-film-concept model (Deleuze), I focus on the repetitive, ceremonial body appearing in Dongai??i??s films and try to understand how the bodies of the South-Korean director fall apart with the progression of the subject, and analyse how Dongai??i??s unified body-representation is woven into his body of work, creating an authorial whole, in which Dong-Lee brings the presence of the theatre closer through stylized body and skin.

16.45 ai??i?? 17.00Ai??Ai??Ai??Ai?? Coffee Break

17.00 ai??i?? 18.00Ai??Ai??Ai??Ai?? II. szekciA? ModerA?tor: David Scott Diffrient

17.00 ai??i?? 17.30 Aroma and Appetite: Visual Imagery and the Perception of Taste and Smell in Contemporary Korean Film

Dotty HAMILTON, Ph.D. (Avila University, Kansas City)

While much has been theorized about the multisensory aspect of perception in moving images, little has been devoted to whether the senses of taste and smell are part of the cinematic viewing experience. Speaking to the question of how the body experiences the image, the paper proposes a participatory mode of spectatorship that engages the senses using food as a lensAi?? to explore the smell and taste of the image in the Korean films.

17.30 ai??i?? 18.00Ai??Ai??Ai??Ai?? Invisible Words, Visible Dreams – Poetry as Korean

Transcendental Cinema ai??i?? video elAi??adA?s

Hiu M. CHAN (University College, London)

What happens when words are slowly being forgotten, how do we express ourselves? Poetry as an example of transcendental cinema transforms the question into an actual narraive subject in the film. Through the lens of Zen, there is something beyond langauge that crosses national borders and boundaries.

 

18.00 ai??i?? 19.00Ai??Ai??Ai??Ai?? FilmvA?logatA?s a pAi??csi filmszakos hallgatA?k munkA?ibA?l

19.00 Jaihong Juhn: Poongsan 2011, 121ai??i?? angol felirattal

21.00 ai??i?? 22.30 Koncert: Canarro egyA?ttes jA?tszik koreai filmek zenAi??jAi??bAi??l

 

Szombat

THE CINEMA OF KIM KI- DUK

10.00 ai??i?? 11.00 Kim Ki-duk: The Cinema of Ressentiment Hye Seung CHUNG (Colorado State University)Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai?? ModerA?tor: Daniel Martin

This study investigates the controversial motion pictures written and directed by the independent filmmaker Kim Ki-duk, one of the most acclaimed Korean auteurs in the English-speaking world. Propelled by underdog protagonists who can only communicate through shared corporeal pain and extreme violence, Kim has been labeled a “psychopath” and “misogynist” in South Korea. Hye Seung Chung challenges these misunderstandings, recuperating Kim’s oeuvre as a therapeutic, yet brutal cinema of Nietzschean ressentiment.

 

11.00 ai??i?? 11.15Ai??Ai??Ai??Ai??Ai??Ai??Ai?? KA?vAi?? szA?net

11.15 ai??i?? 12.15 The Ethics of Contemplation

Jinhee CHOI (Kingai??i??s College, London) ModerA?tor: Hye Seung Chung

In Arirang, Kim questions the ethical and moral consequences of his own filmmaking.Ai?? Martha Nussbaum once noted that contemplation is an ethical goal but ethical contemplation is not just to achieve ai???individual clarification and self-under-standingai??? but to ai???move toward communal attunement.ai??? The paper examines the role of contemplation in Kimai??i??s Arirang and considers to what extent it resuscitates Kimai??i??s own desires toward filmmaking, yet is limited only to that.

12.15 ai??i?? 13.30Ai??Ai??Ai??Ai??Ai??Ai?? EbAi??d
13.30 ai??i?? 14.00
Scrutinizing Subversive Sensuality: Kim Ki-duk in/andAi??Ai??Ai??Ai??Ai??Ai??Ai?? Contemporary Korean Cinema JasonAi?? HO Ka Hang (University of Hong Kong)Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai?? ModerA?tor: Hye Seung Chung

The paper argues that Time, Breath, and Dream are overlooked pieces that deal with recurrent motifs such as urban alienation, estrangement, and cosmetic surgery. Kimai??i??s trademark of sensual excess and using subversive images continues to materialize, and extra layers of intertextuality and intratextuality are injected into these. The paper ends with a discussion of the notion of self-reflexivity and self-referentiality vis-Ai??-vis Kimai??i??s latest piece ai??i?? Arirang (2011).

14.00 Kim Ki-duk: Arirang 2011, 92ai??i?? angol felirattal

16.00 ai??i?? 17.30 ZA?rA? kerekasztal-beszAi??lgetAi??s: A test Ai??s a filmi elbeszAi??lAi??s hatA?rai RAi??sztvevAi??k:Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai??Ai?? David Scott Diffriend, Hye Seung Chung, Earl Jackson, Antal BA?kay,

PethAi?? A?gnes, http://blog.livingwellattowneandcountry.com/?p=15581 Tarnay LA?szlA? (moderator)

GASZTRONAi??MIAI KIRA?NDULA?S AZ A?ZEK LABIRINTUSA?BAN

 

MA?rcius 29-Ai??n tA?vol-keleti kultA?rA?k

mA?rcius 30-A?n a magyar tA?jegysAi??gek Ai??telei

mA?rcius 31-Ai??n pedig egy kulinA?ris meglepetAi??s vA?rja a program rAi??sztvevAi??it napijegy ellenAi??ben.

RAi??szletes informA?ciA?: http://www.septemartes.com

 

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A Szegedi Tudományegyetem végzős kommunikáció-magyar szakos hallgatója vagyok. A filmelméti és filmtörténeti speciális képzésen 2008-ban végeztem. Érdeklődésem középpontjában az adaptáció, a narratológia, illetve a vizuális kultúra áll.