• Title, Summary, Keyword: Sinpa

Search Result 2, Processing Time 0.058 seconds

A Critical Study on Ideology and Reality of Silmido (영화 [실미도]의 이데올로기와 리얼리티에 대한 비판적 고찰)

  • Seo, In-Sook
    • The Journal of the Korea Contents Association
    • /
    • v.8 no.7
    • /
    • pp.161-173
    • /
    • 2008
  • Silmido [실미도 2003] captures the covered historical reality and describes the spectacular training process of the special army stationed at Silmido in vivid detail. As a result, a fictional space is turned into a reality film. The film shows ideological inconsistency of the critical view about the fascism of government authority and at the same time the political aid about government authority. The film creates dramatic and friendly effect through melodramatic and emotional exaggeration called sinpa about historical events to produce the pleasure of assimilation based on the trust of the audience. Here, individual assimilation is subjectivity achieved through the general sympathy coming from the tragic national discourse. Silmido appeals to the imaginary community not in a logical but in an emotional way. The spectacular action and realistic images are supported by national tragedy divided into the South Korea and the North Korea, and integrated sentimentalism to amplify the tragedy. Silmido tries to strengthen the tragic situation caused by the division ideology through this sentimentalism called sinpa. In contrast to the brutality of the relentless military regime, the sacrifice of good-hearted Silmido force members is heroically portrayed.

Studies on a theatre aesthetics of North-Korea during right after the Liberation. (해방기 북한연극의 공연미학)

  • Kim, Jeong-Soo
    • (The) Research of the performance art and culture
    • /
    • no.20
    • /
    • pp.31-61
    • /
    • 2010
  • This thesis proposes to explore the theatre aesthetics of North-Korea during after the Liberation. From now South-Korean theorists have provided the theatre aesthetics of North-Korea to South-Korea, so we can say that it lacks of an equity. For example, South-theorists have said that North-Korean theatre only emphasized politics and propaganda, they have had not any aesthetics in performance. So this study focused on North-Korean critics and records for fairness and as a result something new is founded. The best theatres in North-Korea were some works which contains natural and proper lines to character, well-expressed inner desires of characters, realistic acting and stage design, and realistic life of working class. Of course they should reflect communist ideology and policy, but more important is that it did not mean everything in North-Korea. So we can say that it is fact that North-Korea should reflect their policy, which does not mean lack of aesthetics of performance. North-Korea had an obvious point of view for theatre, and they made an effort to realistic lines, movements and stage. During right after the Liberation, North Korea sought to find an answer for 'realization of true life', and sought to eliminate Japanese acting style in theatre. Concluded theatre aesthetics of North-Korea during right after the Liberation is realistic acting and directing style.