지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The purpose of this paper is to define the concept of locality shown in the Korean local cinema and the Asian Film. What is the local cinema? Really able to apply the concept of Local Cinema Korean movie? What is the condition of the local cinema? Local / locality appeared to an topic of the domestic academia is not that old. The background has been functioning in the post-modern cultural logic emerged as a major research agenda locality. In addition, with the socio-economic and spatial variations of the global capitalism, the problem of local came to surface in the main topic. Change as a global role in the decline of the nation-state and its function, the global and the local is due to face directly.
In this paper, the concept of locality is accessible in three ways. The Substratum of locality, the hierarchy of locality, and the recognition & value of the locality are dealing with. Only American movie called Hollywood Movie, Korean movie the Chungmuro Film, and the Shanghai Film Chinese Movie in the substratum of locality. But, according to the hierarchy of the locality, Hollywood movies is the global cinema, the Chungmuro film is the local cinema. The recognition & value of the locality is necessary, in order to overcome the hierarchical locality concerning work and the pursuit of the post-modern, decentralized locality.
For example, a decentralized and postmodern film “Paju”, dealing with the city of fog as well as the border city as a background, is a local cinema. Film “Jiseul” will fit in the definition of Local Cinema, seen in the various aspects. That movie directly addressed the issue such as Jeju 4.3 Insurrection by the filmmakers of Jeju Island. Also film “I came from Busan”, geopolitical characteristics that best implemented in the work fits well with the concept of a local cinema. In the sense that thoroughly based on the daily spatiality, that of “Pomildong Blues” is true local cinema.
Emphasis on local how to escape from the domination of global capital. For trans-locality, based on this study must be followed.
In this paper, the concept of locality is accessible in three ways. The Substratum of locality, the hierarchy of locality, and the recognition & value of the locality are dealing with. Only American movie called Hollywood Movie, Korean movie the Chungmuro Film, and the Shanghai Film Chinese Movie in the substratum of locality. But, according to the hierarchy of the locality, Hollywood movies is the global cinema, the Chungmuro film is the local cinema. The recognition & value of the locality is necessary, in order to overcome the hierarchical locality concerning work and the pursuit of the post-modern, decentralized locality.
For example, a decentralized and postmodern film “Paju”, dealing with the city of fog as well as the border city as a background, is a local cinema. Film “Jiseul” will fit in the definition of Local Cinema, seen in the various aspects. That movie directly addressed the issue such as Jeju 4.3 Insurrection by the filmmakers of Jeju Island. Also film “I came from Busan”, geopolitical characteristics that best implemented in the work fits well with the concept of a local cinema. In the sense that thoroughly based on the daily spatiality, that of “Pomildong Blues” is true local cinema.
Emphasis on local how to escape from the domination of global capital. For trans-locality, based on this study must be followed.
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3. 결론
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UCI(KEPA) : I410-ECN-0101-2014-688-003180411