This thesis is an auteur study on director Ha Kil-Jong. Therefore the purpose of this thesis is to study the world of his films, the stylistic quality and the transformational process of his films. Ha Kil-Jong directed only seven films between 1972 and 1979. In the following I analyze all the works ...
This thesis is an auteur study on director Ha Kil-Jong. Therefore the purpose of this thesis is to study the world of his films, the stylistic quality and the transformational process of his films. Ha Kil-Jong directed only seven films between 1972 and 1979. In the following I analyze all the works but one, <Look for a Woman, 1976>. There are six films for analysis: <Pollen, 1972>, <Faithfulness, 1973>, <Fools' March, 1975>, <Han-Ne's Ascension, 1977>, <Home of Stars Part 2, 1978> and <Byoung-Tae and Young -Ja, 1979>. In the 1970s, Korean movies didn't have the essential freedom of expression and directors were deprived of their rights of production under the suppression of the autocratic regime. Ha Kil-Jong, who was a director and critic, continually pointed out the problems of Korean movies and insisted on working conditions being improving through a good deal of magazines. Hence, before concrete textual analysis, I mention Ha Kil-Jong's critique works to understand his film theory and the pain as the auteur. But the method I research this thesis is the textual analysis to study on auteur, Ha Kil-Jong. At first, for the purpose of analysing text, these six works are divided into two periods, not chronologically. The one is <Pollen>, <Faithfulness> and <Han-Ne's Ascension>, which are artistic works. The other is <Fools' March>, <Byoung-Tae and Young-Ja> and <Home of Stars Part 2>, which succeeded commercially. The textual analysis on each film is divided into two parts: de´coupage table and work analysis, which is analysed in plot and style. As seen above, according to textual analysis, Ha Kil-Jong's works are quite different from each other. That is summed up as the following. The theme of <Pollen> has social and the style of it has originality. This work suggests the contradictions of our society through a downfall of false home and the stylistic qualities of it are flexible movement of camera, characters' significant movement and placement, peculiar sound, etc. <Faithfulness>, the only historical play of his films, describes people who were suppressed from power class, especially the woman's tragedy. In this work, Ha Kil-Jong attacks power class incisively so as to blame the injustice and corruption of our society. New styles of this film, optical effects and slow motions and the like, make work more tragedic. <Han-Ne's Ascension> represents women's grudge with Samsara, Shamanism and folk drama which were the main current in Korean thought. Because of the serious atmosphere of this work, flashbacks are exposed monochrome. <Fools' March> and <Byoung-Tae and Young-Ja> are the drama of youth which designed the young's dream, friendship and love. But the former vividly denounces reality through college students' dream and breakdown, while the latter, the part 2 of the former, depicts simple love of youth's the eternal triangle. <Home of Stars Part 2> is the sad love story of a pair of unhappy lovers. Here we knows obviously that, except for <Fools' March>, <Byoung-Tae and Young-Ja> and <Home of Stars Part 2> are melodramas of individual lovers, dissimilarly from preceding works. And in patterns of styles of these three films, camera movements that are expressed precarious mind and life of characters are prominent, but these styles are so similiar that these are changed to conventional. Though the theme and style of Ha Kil-Jong's films were changed by degrees, he directed new Korean films in the 1970s. Above all, had possessed the clear world of auteur, he depicted incisively the absurdities and contradictions of Korean society. It is especially remarkable in <Pollen>, <Faithfulness>, <Fools' March> and <Han-Ne's Ascension>. Also from aesthetic point of view, his works developed new film language. These are the flexible movement of camera, characters' eminent movement and placement and new rhythm made with combination of binary-oppositions, stable movement with violent movement, longer length with shorter length and long shot with extreme close-up, which played an important role as representation for thematic reinforcement. To define Ha Kil-Jong as auteur, however, give rise to several problems. First, because works are inconsistent, the world of his films is not obvious. Besides he gave up his own world of works and turned to commercial film in order to make films in succession. The reason is that Ha Kil-Jong who was under government control more than any other director in the 1970s couldn't express his world so that he made a compromise with the reality. These external working circumstances affected a change to the internal world of works, it disgraced the reputation of Ha Kil-Jong as auteur and would have prevented him from being a true film auteur. Consequently, the effort of Ha Kil-Jong dreamed of true auteur to raise the level of Korean films was nothing but his ideal, and he died before he could finish his dream for a short decade. But if the 1970s was bad times in Korean film history, although Ha Kil-Jong as auteur was wanting in ability, we must do practice the auteur study on Ha Kil-Jong who directed with difficulty in this bad times and this is the essential purpose of this thesis. Of course, it is difficult that this thesis is the perfect auteur study on director Ha Kil-Jong. But, in spite of many problems, I analyzed as detailedly as possible to reappreciate the impressive works of Ha Kil-Jong's now, so that I tried to make this thesis the critique method of the auteur study. I feel convinced that the world of works Ha Kil-Jong most wanted leaved unaccomplished. And the world of Ha Kil-Jong which was not finished is the rest of this thesis.
This thesis is an auteur study on director Ha Kil-Jong. Therefore the purpose of this thesis is to study the world of his films, the stylistic quality and the transformational process of his films. Ha Kil-Jong directed only seven films between 1972 and 1979. In the following I analyze all the works but one, <Look for a Woman, 1976>. There are six films for analysis: <Pollen, 1972>, <Faithfulness, 1973>, <Fools' March, 1975>, <Han-Ne's Ascension, 1977>, <Home of Stars Part 2, 1978> and <Byoung-Tae and Young -Ja, 1979>. In the 1970s, Korean movies didn't have the essential freedom of expression and directors were deprived of their rights of production under the suppression of the autocratic regime. Ha Kil-Jong, who was a director and critic, continually pointed out the problems of Korean movies and insisted on working conditions being improving through a good deal of magazines. Hence, before concrete textual analysis, I mention Ha Kil-Jong's critique works to understand his film theory and the pain as the auteur. But the method I research this thesis is the textual analysis to study on auteur, Ha Kil-Jong. At first, for the purpose of analysing text, these six works are divided into two periods, not chronologically. The one is <Pollen>, <Faithfulness> and <Han-Ne's Ascension>, which are artistic works. The other is <Fools' March>, <Byoung-Tae and Young-Ja> and <Home of Stars Part 2>, which succeeded commercially. The textual analysis on each film is divided into two parts: de´coupage table and work analysis, which is analysed in plot and style. As seen above, according to textual analysis, Ha Kil-Jong's works are quite different from each other. That is summed up as the following. The theme of <Pollen> has social and the style of it has originality. This work suggests the contradictions of our society through a downfall of false home and the stylistic qualities of it are flexible movement of camera, characters' significant movement and placement, peculiar sound, etc. <Faithfulness>, the only historical play of his films, describes people who were suppressed from power class, especially the woman's tragedy. In this work, Ha Kil-Jong attacks power class incisively so as to blame the injustice and corruption of our society. New styles of this film, optical effects and slow motions and the like, make work more tragedic. <Han-Ne's Ascension> represents women's grudge with Samsara, Shamanism and folk drama which were the main current in Korean thought. Because of the serious atmosphere of this work, flashbacks are exposed monochrome. <Fools' March> and <Byoung-Tae and Young-Ja> are the drama of youth which designed the young's dream, friendship and love. But the former vividly denounces reality through college students' dream and breakdown, while the latter, the part 2 of the former, depicts simple love of youth's the eternal triangle. <Home of Stars Part 2> is the sad love story of a pair of unhappy lovers. Here we knows obviously that, except for <Fools' March>, <Byoung-Tae and Young-Ja> and <Home of Stars Part 2> are melodramas of individual lovers, dissimilarly from preceding works. And in patterns of styles of these three films, camera movements that are expressed precarious mind and life of characters are prominent, but these styles are so similiar that these are changed to conventional. Though the theme and style of Ha Kil-Jong's films were changed by degrees, he directed new Korean films in the 1970s. Above all, had possessed the clear world of auteur, he depicted incisively the absurdities and contradictions of Korean society. It is especially remarkable in <Pollen>, <Faithfulness>, <Fools' March> and <Han-Ne's Ascension>. Also from aesthetic point of view, his works developed new film language. These are the flexible movement of camera, characters' eminent movement and placement and new rhythm made with combination of binary-oppositions, stable movement with violent movement, longer length with shorter length and long shot with extreme close-up, which played an important role as representation for thematic reinforcement. To define Ha Kil-Jong as auteur, however, give rise to several problems. First, because works are inconsistent, the world of his films is not obvious. Besides he gave up his own world of works and turned to commercial film in order to make films in succession. The reason is that Ha Kil-Jong who was under government control more than any other director in the 1970s couldn't express his world so that he made a compromise with the reality. These external working circumstances affected a change to the internal world of works, it disgraced the reputation of Ha Kil-Jong as auteur and would have prevented him from being a true film auteur. Consequently, the effort of Ha Kil-Jong dreamed of true auteur to raise the level of Korean films was nothing but his ideal, and he died before he could finish his dream for a short decade. But if the 1970s was bad times in Korean film history, although Ha Kil-Jong as auteur was wanting in ability, we must do practice the auteur study on Ha Kil-Jong who directed with difficulty in this bad times and this is the essential purpose of this thesis. Of course, it is difficult that this thesis is the perfect auteur study on director Ha Kil-Jong. But, in spite of many problems, I analyzed as detailedly as possible to reappreciate the impressive works of Ha Kil-Jong's now, so that I tried to make this thesis the critique method of the auteur study. I feel convinced that the world of works Ha Kil-Jong most wanted leaved unaccomplished. And the world of Ha Kil-Jong which was not finished is the rest of this thesis.
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