Social ecology and ecological knowledge in South Korean ecocinema

Research output: Contribution to journalArticleResearchpeer-review

Abstract

Through an engagement with interactions between human cognition and social and natural ecologies, recent South Korean films critique perceived deficiencies in Korean cultural forms and practices. The two eco-themed films that are the main focus of this article, Daeho (The Tiger) and Syupeomaenieotteon Sanai (A Man Who Was Superman), thematize an implicit acquiescence to the environmental status quo within South Korea’s inward-looking culture. A Man Who Was Superman, in particular, articulates nested social structures with the effect that social ecology affords a meta-level for a range of social and ecological issues. The foregrounding of these issues is achieved by disrupting the narrative expectations associated with a particular genre – that is, by modal shifts into magical realism and CGI, by evocations of transcendence and by uses of point-of-view shots that present many scenes from a non-human perspective. In each film, viewer interaction with embodied simulation of affect and emotion produces a response which is simultaneously cognitive, empathic and potentially ethical.
LanguageEnglish
Pages187-203
Number of pages17
JournalAsian cinema
Volume30
Issue number2
Publication statusAccepted/In press - 1 Dec 2019

Fingerprint

social ecology
Ecology
Economic and social effects
transcendence
interaction
realism
South Korea
social structure
ecology
cognition
genre
emotion
narrative
simulation
Interaction
Superman

Keywords

  • colonization
  • Ecocinema
  • Genre-blending
  • Magical realism
  • Monster theory
  • Script theory
  • Social justice
  • Traditional ecological knowledge

Cite this

@article{53364abff916477ea05959e8305b3f6b,
title = "Social ecology and ecological knowledge in South Korean ecocinema",
abstract = "Through an engagement with interactions between human cognition and social and natural ecologies, recent South Korean films critique perceived deficiencies in Korean cultural forms and practices. The two eco-themed films that are the main focus of this article, Daeho (The Tiger) and Syupeomaenieotteon Sanai (A Man Who Was Superman), thematize an implicit acquiescence to the environmental status quo within South Korea’s inward-looking culture. A Man Who Was Superman, in particular, articulates nested social structures with the effect that social ecology affords a meta-level for a range of social and ecological issues. The foregrounding of these issues is achieved by disrupting the narrative expectations associated with a particular genre – that is, by modal shifts into magical realism and CGI, by evocations of transcendence and by uses of point-of-view shots that present many scenes from a non-human perspective. In each film, viewer interaction with embodied simulation of affect and emotion produces a response which is simultaneously cognitive, empathic and potentially ethical.",
keywords = "colonization, Ecocinema, Genre-blending, Magical realism, Monster theory, Script theory, Social justice, Traditional ecological knowledge",
author = "Sung-Ae Lee",
year = "2019",
month = "12",
day = "1",
language = "English",
volume = "30",
pages = "187--203",
journal = "Asian cinema",
issn = "1059-440X",
publisher = "Intellect",
number = "2",

}

Social ecology and ecological knowledge in South Korean ecocinema. / Lee, Sung-Ae.

In: Asian cinema, Vol. 30, No. 2, 01.12.2019, p. 187-203.

Research output: Contribution to journalArticleResearchpeer-review

TY - JOUR

T1 - Social ecology and ecological knowledge in South Korean ecocinema

AU - Lee, Sung-Ae

PY - 2019/12/1

Y1 - 2019/12/1

N2 - Through an engagement with interactions between human cognition and social and natural ecologies, recent South Korean films critique perceived deficiencies in Korean cultural forms and practices. The two eco-themed films that are the main focus of this article, Daeho (The Tiger) and Syupeomaenieotteon Sanai (A Man Who Was Superman), thematize an implicit acquiescence to the environmental status quo within South Korea’s inward-looking culture. A Man Who Was Superman, in particular, articulates nested social structures with the effect that social ecology affords a meta-level for a range of social and ecological issues. The foregrounding of these issues is achieved by disrupting the narrative expectations associated with a particular genre – that is, by modal shifts into magical realism and CGI, by evocations of transcendence and by uses of point-of-view shots that present many scenes from a non-human perspective. In each film, viewer interaction with embodied simulation of affect and emotion produces a response which is simultaneously cognitive, empathic and potentially ethical.

AB - Through an engagement with interactions between human cognition and social and natural ecologies, recent South Korean films critique perceived deficiencies in Korean cultural forms and practices. The two eco-themed films that are the main focus of this article, Daeho (The Tiger) and Syupeomaenieotteon Sanai (A Man Who Was Superman), thematize an implicit acquiescence to the environmental status quo within South Korea’s inward-looking culture. A Man Who Was Superman, in particular, articulates nested social structures with the effect that social ecology affords a meta-level for a range of social and ecological issues. The foregrounding of these issues is achieved by disrupting the narrative expectations associated with a particular genre – that is, by modal shifts into magical realism and CGI, by evocations of transcendence and by uses of point-of-view shots that present many scenes from a non-human perspective. In each film, viewer interaction with embodied simulation of affect and emotion produces a response which is simultaneously cognitive, empathic and potentially ethical.

KW - colonization

KW - Ecocinema

KW - Genre-blending

KW - Magical realism

KW - Monster theory

KW - Script theory

KW - Social justice

KW - Traditional ecological knowledge

M3 - Article

VL - 30

SP - 187

EP - 203

JO - Asian cinema

T2 - Asian cinema

JF - Asian cinema

SN - 1059-440X

IS - 2

ER -