文章基本信息

标题：Censura en el cine coreano. Deseo y muerte en "Hanyo" de Kim Ki-young
本地全文：下载
作者：Mar Marcos Molano ; Nuria Pérez Matesanz
期刊名称：Área Abierta
电子版ISSN：1578-8393
出版年度：2017
卷号：17
期号：3
页码：333-348
DOI：10.5209/ARAB.54763
语种：Spanish
出版社：Servicio de Publicaciones de la Universidad Complutense
摘要：The Korean cinema was born and raised under the shadow of censorship through the various dictatorships that took place since the early twentieth century. In this context we approach the figure of the South Korean film director Kim Ki-young through his film Hanyo, (The Housemaid, 1960), in order to dive into the filmic devices which represent sexual attraction by using the expressive potential of his female characters. In this latter regard, the woman leaves her submissive position and plays an active role in representing social values through sexuality, whereas repressed sexuality becomes the only instrument of power that a misfit lower-class woman can make use of. The liberating element is therefore a socially unacceptable element. Such a double reading acquires a symbolic quality for the spectator who must decide their acceptance or rejection position. This analysis will allow revealing cultural peculiarities that concern censorship in Korea, since its work is not so focused on images explicitness but on its moral attribution. Similarly, it would be necessary to understand the essential incidence of other social mechanisms of latent self-censorship in the of this emblematic director. Representing low human passions is the leitmotif of the work of Kim Kiyoung who revisits his former masterpiece on several occasions in order to offer a multifaceted view of the sexual repression dilemma. All in all the purpose of this paper is to show how the film grammar deepen human drama with surgical precision, in an intelligent exercise of bypassing censorship.
关键词：Kim Ki-young;censura;erotismo;simbología;caligrafía;cine coreano
其他关键词：Kim Ki-young;Censorship;Eroticism;Symbology;Calligraphy;Korean cinema