In Spite of having over 70 years of history of Korea film, We can research for Genre. But the research for Genre Film and its characteristic definition for every works are necessary not only in respect of Korea film history also of Korea film industry. ln this paper 'Action Film' is selected to rese...
In Spite of having over 70 years of history of Korea film, We can research for Genre. But the research for Genre Film and its characteristic definition for every works are necessary not only in respect of Korea film history also of Korea film industry. ln this paper 'Action Film' is selected to research into the Genre of Korea film thoroughly. 'Korea Action Film' discussed here that its narrative hasbeen developed from the time of colony by Japan to the present with action -that is not of special martial arts nor of guns or swords, but of physical fighting. Meantime, in the history of Korea film, especially before the colony by Japan, We can find the representatives of protagonist/hero of Korea action film in some chivalrous robbers' stories like 'Hong, Kil-Dong' or 'Im, Kuk-Jeong'. But as time goes on this kind of protagonist/hero has been developed to 'Righteous gangster' first who can be called as a modern chivalrous robber- but later a 'Kkang Pae' or a criminal showing negative images in action films. In action films, although conflicts are originated or settled by 'action', the process of acting violence or getting violence can be the narrative of action film all the time. The major narratives of Korean gangsters films are the relationship between the protagonist/hero and his organization in the courses of rallying or dismembering his family, members' enlisting or leaving, and the conflict between the protagonist /hero's organization and his counterpart. Until eighties the major representative directors of Korea action film were Jung Chang-Wha, Lee Man-Hee, Kim Muk, Im Kwon-Tack, Kim Hyo-Chun, Ko Young-Nam, ChoiYoung-Chul, Lee Hyuk-Soo, Lee Du-Yong, Pak No-Sik, PakWoo-Sang and so on. Korea action films, until nineteen-eighties, were in the course of change in its materials and forms rather than in the course of development. That means, in the variation of producing-action thrillers, intelligent agent ones, and daeryuk ones in sixties, violent ones and martial arts ones in seventies and Moo Hyup ones in eighties - there happened some changes just in their materials and forms. Antagonists were fixed as villains, Japanese, or spies from North Korea and the protagonist/hero was always fair and won eventually after one or more difficulties. In 1990 the industrial success of 「The Son of General」 directed by Im Kwon-Tack made us expect rehabilitation of Korean gangsters film. Besides there came signs of evolution in authors' points of view to gangsters. After this 「The Rules of Game」 (1994) directed by Jang Hyun-Soo suggested a new methodology of Korean gangsters film and a new way of Korea action film and 「Terrorist」(1995) directed by Kim Young-Bin showed some developed figures of Korean gangsters film with its fast evolution of story including scenes of powerful actions. lt's no exaggeration to say that Korean gangsters film could step inta a development, though late by these two. After 1990 the mainstream of Korean gangsters film turned a new leaf from Righteous gangsters film to 'Kkang Pae' film. 'Kkang Pae' film discussed in this paper do not describe a protagonist as a hero or as a Righteous gangster anymore, but as an existent human being or as just a Kkang Pae. Shifting its form from Righteous gangsters film to Kkang Pae film and the protagonist has been changed from a hero to anti-hero. Like this we could approach to a three-dimensional character. In addition the narrative has been developed in a complicated way related with society and reality, not just as a conflict between the black and the white or between goodness and vice. Some of characteristics of Genre film showed in Korea action films are not enough to make complete a form of Genre film. But just as a part of Korea action film, Korean gangsters film is the only effective figure of Korea action film 'at present' and a film form that can take a part of Korea film history -after so long time it has just begun to change. Now the future of one effective type of Korea film will be decided by social conditions, film industry, authors and their protagonists, I think.
In Spite of having over 70 years of history of Korea film, We can research for Genre. But the research for Genre Film and its characteristic definition for every works are necessary not only in respect of Korea film history also of Korea film industry. ln this paper 'Action Film' is selected to research into the Genre of Korea film thoroughly. 'Korea Action Film' discussed here that its narrative hasbeen developed from the time of colony by Japan to the present with action -that is not of special martial arts nor of guns or swords, but of physical fighting. Meantime, in the history of Korea film, especially before the colony by Japan, We can find the representatives of protagonist/hero of Korea action film in some chivalrous robbers' stories like 'Hong, Kil-Dong' or 'Im, Kuk-Jeong'. But as time goes on this kind of protagonist/hero has been developed to 'Righteous gangster' first who can be called as a modern chivalrous robber- but later a 'Kkang Pae' or a criminal showing negative images in action films. In action films, although conflicts are originated or settled by 'action', the process of acting violence or getting violence can be the narrative of action film all the time. The major narratives of Korean gangsters films are the relationship between the protagonist/hero and his organization in the courses of rallying or dismembering his family, members' enlisting or leaving, and the conflict between the protagonist /hero's organization and his counterpart. Until eighties the major representative directors of Korea action film were Jung Chang-Wha, Lee Man-Hee, Kim Muk, Im Kwon-Tack, Kim Hyo-Chun, Ko Young-Nam, ChoiYoung-Chul, Lee Hyuk-Soo, Lee Du-Yong, Pak No-Sik, PakWoo-Sang and so on. Korea action films, until nineteen-eighties, were in the course of change in its materials and forms rather than in the course of development. That means, in the variation of producing-action thrillers, intelligent agent ones, and daeryuk ones in sixties, violent ones and martial arts ones in seventies and Moo Hyup ones in eighties - there happened some changes just in their materials and forms. Antagonists were fixed as villains, Japanese, or spies from North Korea and the protagonist/hero was always fair and won eventually after one or more difficulties. In 1990 the industrial success of 「The Son of General」 directed by Im Kwon-Tack made us expect rehabilitation of Korean gangsters film. Besides there came signs of evolution in authors' points of view to gangsters. After this 「The Rules of Game」 (1994) directed by Jang Hyun-Soo suggested a new methodology of Korean gangsters film and a new way of Korea action film and 「Terrorist」(1995) directed by Kim Young-Bin showed some developed figures of Korean gangsters film with its fast evolution of story including scenes of powerful actions. lt's no exaggeration to say that Korean gangsters film could step inta a development, though late by these two. After 1990 the mainstream of Korean gangsters film turned a new leaf from Righteous gangsters film to 'Kkang Pae' film. 'Kkang Pae' film discussed in this paper do not describe a protagonist as a hero or as a Righteous gangster anymore, but as an existent human being or as just a Kkang Pae. Shifting its form from Righteous gangsters film to Kkang Pae film and the protagonist has been changed from a hero to anti-hero. Like this we could approach to a three-dimensional character. In addition the narrative has been developed in a complicated way related with society and reality, not just as a conflict between the black and the white or between goodness and vice. Some of characteristics of Genre film showed in Korea action films are not enough to make complete a form of Genre film. But just as a part of Korea action film, Korean gangsters film is the only effective figure of Korea action film 'at present' and a film form that can take a part of Korea film history -after so long time it has just begun to change. Now the future of one effective type of Korea film will be decided by social conditions, film industry, authors and their protagonists, I think.
Keyword
#한국액션영화 액션영화 영화 한국갱스터영화
※ AI-Helper는 부적절한 답변을 할 수 있습니다.