Abstract
| Language | English |
|---|---|
| Pages | 187-203 |
| Number of pages | 17 |
| Journal | Asian cinema |
| Volume | 30 |
| Issue number | 2 |
| DOIs | |
| Publication status | Published - Oct 2019 |
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Keywords
- Colonization
- Ecocinema
- Genre-blending
- Magical realism
- Monster theory
- Script theory
- Social justice
- Traditional ecological knowledge
Cite this
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Social ecology and ecological knowledge in South Korean ecocinema. / Lee, Sung-Ae.
In: Asian cinema, Vol. 30, No. 2, 10.2019, p. 187-203.Research output: Contribution to journal › Article › Research › peer-review
TY - JOUR
T1 - Social ecology and ecological knowledge in South Korean ecocinema
AU - Lee, Sung-Ae
PY - 2019/10
Y1 - 2019/10
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
UR - http://www.scopus.com/inward/record.url?scp=85075323140&partnerID=8YFLogxK
U2 - 10.1386/ac_00003_1
DO - 10.1386/ac_00003_1
M3 - Article
VL - 30
SP - 187
EP - 203
JO - Asian cinema
T2 - Asian cinema
JF - Asian cinema
SN - 1059-440X
IS - 2
ER -