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초록· 키워드
오류제보하기
To diagnose the issue of Minari’s nationality caused by the Golden Globes Awards, this study has examined the concept of national cinema in terms of both cinema of the state and that of the nation. The national cinema referring to cinema of the state puts emphasis on the economic aspects of domestic film industries, including film production, distribution, exhibition, and so on. The national cinema indicating cinema of the nation attaches importance to the cultural characteristics of the nation, such as narrative, style, representativeness of the characters, actors and their acting styles, and so forth.
Firstly, in respect of cinema of the state, Minari is a typical American cinema because it has been founded on the American film industry all around, including the production company and staff, the distribution company, the post-production and sound, etc. Secondly, in respect of cinema of the nation, it can be viewed as on the one hand a Korean cinema, and on the other hand an American cinema. The Korean cultural characteristics, such as the patriarchal ideology and/or patriarchal familism that Jacob represents, the Korean immigrants dam aged by the Korean networks, one of the representative Korean actresses Yuh-Jung Youn and her vocal acting and gestures, make the film able to be regarded as a Korean cinema. Conversely, the scenes of David who does not accept Soonja as a real grandma, Johnie and June who look at Asian children of their age curiously, the difference of attitudes toward the church service between Jacob family and Paul represent the cultural gap between the Korean and American; however, it is filled by David’s embracing Soonja who burned the crops storage. They make the film able to be considered as an American cinema in that they represent U.S., the country of immigrants that accepts and mingles together with those who seem not be a real American.
To be short, Minari is obviously an American cinema under the standards of cinema of the state, however it can be viewed as either a Korean or an American cinema under that of cinema of the nation. The Golden Globes Awards has considered the film as cinema of the state to be an American cinema, while it has evaluated the film as cinema of the nation that is a Korean cinema. It can be said that the Golden Globes Awards has brought up the subject that the industrial circles, the field of criticism including film festivals, and even audiences should establish and have an agreement on the new concept of national cinema considering both the industrial foundation and cultural characteristics.
Firstly, in respect of cinema of the state, Minari is a typical American cinema because it has been founded on the American film industry all around, including the production company and staff, the distribution company, the post-production and sound, etc. Secondly, in respect of cinema of the nation, it can be viewed as on the one hand a Korean cinema, and on the other hand an American cinema. The Korean cultural characteristics, such as the patriarchal ideology and/or patriarchal familism that Jacob represents, the Korean immigrants dam aged by the Korean networks, one of the representative Korean actresses Yuh-Jung Youn and her vocal acting and gestures, make the film able to be regarded as a Korean cinema. Conversely, the scenes of David who does not accept Soonja as a real grandma, Johnie and June who look at Asian children of their age curiously, the difference of attitudes toward the church service between Jacob family and Paul represent the cultural gap between the Korean and American; however, it is filled by David’s embracing Soonja who burned the crops storage. They make the film able to be considered as an American cinema in that they represent U.S., the country of immigrants that accepts and mingles together with those who seem not be a real American.
To be short, Minari is obviously an American cinema under the standards of cinema of the state, however it can be viewed as either a Korean or an American cinema under that of cinema of the nation. The Golden Globes Awards has considered the film as cinema of the state to be an American cinema, while it has evaluated the film as cinema of the nation that is a Korean cinema. It can be said that the Golden Globes Awards has brought up the subject that the industrial circles, the field of criticism including film festivals, and even audiences should establish and have an agreement on the new concept of national cinema considering both the industrial foundation and cultural characteristics.
목차
I. 문제제기
Ⅱ. 내셔널 시네마
Ⅲ. 내셔널 시네마로서의 <미나리>
Ⅳ. 결론
참고문헌
Abstract
참고문헌 (25)
참고문헌 신청
Greenfeld, L. / 1992 / Nationalism : Five Roads to Modernity / Harvard University Press
Hayward, S. / 2005 / French National Cinema / Routledge
김정은 / 2008 / 내셔널 시네마(National Cinema)란 무엇인가? - “한국영상자료원 개관기념국제심포지엄”을 참관하고 / 중국현대문학 (45)
류재형 / 2015 / <국제시장>, 가부장적 가족주의의 재현 / 현대영화연구 11(3):257~286
원영준 / 1994 / 미국 한인사회의 변화와 한인청소년의 생활과 문제 – 로스엔젤레스 지역을 중심으로 / 한국청소년연구 (19)
Hayward, S. / 2005 / French National Cinema / Routledge
김정은 / 2008 / 내셔널 시네마(National Cinema)란 무엇인가? - “한국영상자료원 개관기념국제심포지엄”을 참관하고 / 중국현대문학 (45)
류재형 / 2015 / <국제시장>, 가부장적 가족주의의 재현 / 현대영화연구 11(3):257~286
원영준 / 1994 / 미국 한인사회의 변화와 한인청소년의 생활과 문제 – 로스엔젤레스 지역을 중심으로 / 한국청소년연구 (19)
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