This paper describes 5·18 movies through their main narrative of the Gwang Uprising. This paper classifies and organizes 6 movie. Those are Kim Tae-young's (1987), (1988), Jang Yun-hyeon, Jang Dong-hyun, Lee Dun's (1989), Lee Jung-kook's (1993), Jung Sun-woo's (1996), Lee Chang-dong's (2000). Memory...
This paper describes 5·18 movies through their main narrative of the Gwang Uprising. This paper classifies and organizes 6 movie. Those are Kim Tae-young's (1987), (1988), Jang Yun-hyeon, Jang Dong-hyun, Lee Dun's (1989), Lee Jung-kook's (1993), Jung Sun-woo's (1996), Lee Chang-dong's (2000). Memory is reappearance about an event, which can disappear, and it is punishment for the event. So, memory forms identity and the process of practicing for future memory. The identity of Gwangju is closely related to the memory of 5·18. The Reappearance of 5·18 is a connecting medium between the identity of Gwangju and future memory. Classified as independent movies , , , raised a question like. What kind of event is 5·18? What is the meaning of the event? They inquire into the real state of affairs and reappear centering around clarifying as, and where responsibility lies and access aesthetically these movies were made on relatively free political ground. They revive the injury and memory of Gwangju inherited as collective memory in time. I classify the movies as stpyles of memory and structures of reappearance when comparing them Furthermore, I present a new direction of the 5·18 movie culture-movement in the dispute of realism centering around For that, on the basis of Merleau-Ponty, Derrida, Heidegger, I try to build a model of 5·18 movies as a fusion style. So to speak, an escape from the dispute of metaphysical realism, reappearance of Gwangju's memory, which can appear is extended by the movement of the signifier to make new memory of history.
This paper describes 5·18 movies through their main narrative of the Gwang Uprising. This paper classifies and organizes 6 movie. Those are Kim Tae-young's (1987), (1988), Jang Yun-hyeon, Jang Dong-hyun, Lee Dun's (1989), Lee Jung-kook's (1993), Jung Sun-woo's (1996), Lee Chang-dong's (2000). Memory is reappearance about an event, which can disappear, and it is punishment for the event. So, memory forms identity and the process of practicing for future memory. The identity of Gwangju is closely related to the memory of 5·18. The Reappearance of 5·18 is a connecting medium between the identity of Gwangju and future memory. Classified as independent movies , , , raised a question like. What kind of event is 5·18? What is the meaning of the event? They inquire into the real state of affairs and reappear centering around clarifying as, and where responsibility lies and access aesthetically these movies were made on relatively free political ground. They revive the injury and memory of Gwangju inherited as collective memory in time. I classify the movies as stpyles of memory and structures of reappearance when comparing them Furthermore, I present a new direction of the 5·18 movie culture-movement in the dispute of realism centering around For that, on the basis of Merleau-Ponty, Derrida, Heidegger, I try to build a model of 5·18 movies as a fusion style. So to speak, an escape from the dispute of metaphysical realism, reappearance of Gwangju's memory, which can appear is extended by the movement of the signifier to make new memory of history.
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