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A romp featuring a veteran squad leader with a slew of regrets, a psycho-newbie with tons of feist and a kick ass hottie, and some pretty good fight choreography (plus the obligatory eye patch and scars). A solid entertaining K-flick.
1. The Host (Gwoemul)
Gwoemul is a giant monster created from chemicals dumped in the Han River. The creature attacks and devours people it encounters. In a bid to kill the monster, the army dumps a toxic chemical known as Agent Yellow into the river, which paralyzes the bloodthirsty amphibious creature. Gang-du, a local fishmonger who has raised Hyun-seo since her birth, follows the monster into the sewers in search of his daughter. The movie is a metaphor for the mishandling of harmful chemicals by humankind and the destruction that ensues. It is also a jab at the governing bodies that allow serious mistakes to happen either due to corruption or sheer incompetence.
Using a phone call to track the monster, Gang-du locates it in the sewers where it is resting. He uses a rope made from clothing of its regurgitated victims to escape through the hole where Gwoemul is resting. He stops Nam-joo, a national archer who climbed out of the sewer to save Hyun-seo, from firing an arrow at the creature as it tries to reach the girls. While Gwoemul fakes its sleep to lure them out, Gang-du impales the monster through the mouth with a pole.
The film has become a blockbuster hit in South Korea, receiving the highest praise from critics including Cahiers du Cinema, Manohla Dargis and Quentin Tarantino. It has also gained a wide international audience. The film has been lauded by academics from various fields including pop culture studies, reception studies and cultural globalization. It has influenced the international acceptance of Korean films and the rise of the Hallyu (Korean Wave). The film is often used in textbooks and courses on Asian cinema.
2. Oldboy
The 2003 film Oldboy, by the director Park Chan-wook, is a South Korean revenge drama. Its main antagonist, Woo-jin, is a torturer who has imprisoned Dae-su for 15 years and killed his wife. The film is also a commentary on the government’s control over a person’s privacy and personal freedom.
The climactic plot twist in this neo-noir is considered one of the most unsettling movie moments ever. And behind-the-scenes footage reveals that the film actually has another shocking scene in store for viewers.
Park’s ode to Asian extreme cinema is an example of the genre hybridity that characterizes postmodern culture. It combines elements of horror, melodrama, and action to create an intense and disturbing narrative experience. This genre hybridity also appears in the film’s use of sex and violence to explore themes such as loss, identity, and power.
Aside from its gruesome, breath-taking, and heart-racing sequences, Oldboy is a highly stylized film that captures the ecstatic and terrifying feelings of vengeance. 한국야동 ’s style evokes the sexiness of Japanese horror films like In the Realm of the Senses and the sadomasochism of films by Nagisa Oshima.
The chapter “Oldboy, Postmodern Masculinities and Western Cult Fandom on Film Review Websites: Time between Dog and Wolf” by Sun Jung discusses the ambivalent fandom of Oldboy in the West. She argues that the cult film’s popularity is due to its hybrid nature. It combines Western male identification with South Korean cool masculinity and Western desire for the primitive Other. The resulting mixture is a new type of desire that oscillates between dog and wolf—an idea that is both familiar and alien. This chapter contributes to the ongoing debate about how contemporary postmodern popular cultural flows are shaped by hybridity and transcultural consumption.
5. The King of Masks
As summer blockbusters start to heat up, it’s easy to forget that some of cinema’s most important stories are quiet and subtle. As part of its Karmen Smith series, the International Cinema at BYU presented The King of Masks, a 1996 Chinese film directed by Wu Tianming and starring veteran actor Wang Zhong. The film is an exploration of tradition and the conflicts that arise when one defies it. In 1930s China, a street performer known as “The King of Masks” (Wang) is left with no male heirs to carry on his trade in the traditional change-mask opera art of bian lian. He decides to purchase what he believes is an orphan boy at an illegal child market.