The Representation of Breath in Contemporary South Korean Cinema
The Representation of Breath in Contemporary South Korean Cinema
This thesis explores how ‘breath’ is represented in contemporary South Korean cinema and Korean art and culture more broadly, employing a theoretical framework that draws on phenomenological scholarship on embodied vision and sound. To this end, I expand on Davina Quinlivan’s theorisation of the representation of breath in cinema in The Place of Breath in Cinema (2012). Quinlivan introduces three categories of the representation of breath in film:
spatiality, inter-subjectivity and corporeality. While these three categories provide a significant foundation for and contribution to my study, my thesis proposes a fourth, sonic, dimension, which expands existing visual-centric terminologies. My thesis analyses six case studies from contemporary South Korean cinema to examine the representation of breath; these are Jiseul
(2012), Peppermint Candy (1999), Seopyeonje (1993), Festival (1996), Chunhyang (2000) and Intangible Asset No. 82 (2008). I argue that in terms of spatiality, inter-subjectivity and corporeality, the audio-visual representation of breath in contemporary South Korean cinema revolves around the protagonist, the film form and the spectator. In this respect, my thesis pays attention to culturally specific dimensions of contemporary South Korean cinema regarding the representation of breath, including the impact of historical trauma, the emotions of han and sinmyeong, as well as the principles of traditional art forms and cultural practices.
Chung, Hee-Young
8d3ce026-e277-4340-8ac7-8fc23583e0ac
September 2021
Chung, Hee-Young
8d3ce026-e277-4340-8ac7-8fc23583e0ac
Bergfelder, Tim
fb4e3b67-06fd-4b9f-9a94-bc73a1c7c16d
Cook, Malcolm
e2e0ebaa-c791-48dc-8c67-86e6cbb40b75
Chung, Hee-Young
(2021)
The Representation of Breath in Contemporary South Korean Cinema.
University of Southampton, Doctoral Thesis, 153pp.
Record type:
Thesis
(Doctoral)
Abstract
This thesis explores how ‘breath’ is represented in contemporary South Korean cinema and Korean art and culture more broadly, employing a theoretical framework that draws on phenomenological scholarship on embodied vision and sound. To this end, I expand on Davina Quinlivan’s theorisation of the representation of breath in cinema in The Place of Breath in Cinema (2012). Quinlivan introduces three categories of the representation of breath in film:
spatiality, inter-subjectivity and corporeality. While these three categories provide a significant foundation for and contribution to my study, my thesis proposes a fourth, sonic, dimension, which expands existing visual-centric terminologies. My thesis analyses six case studies from contemporary South Korean cinema to examine the representation of breath; these are Jiseul
(2012), Peppermint Candy (1999), Seopyeonje (1993), Festival (1996), Chunhyang (2000) and Intangible Asset No. 82 (2008). I argue that in terms of spatiality, inter-subjectivity and corporeality, the audio-visual representation of breath in contemporary South Korean cinema revolves around the protagonist, the film form and the spectator. In this respect, my thesis pays attention to culturally specific dimensions of contemporary South Korean cinema regarding the representation of breath, including the impact of historical trauma, the emotions of han and sinmyeong, as well as the principles of traditional art forms and cultural practices.
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Published date: September 2021
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Local EPrints ID: 455873
URI: http://eprints.soton.ac.uk/id/eprint/455873
PURE UUID: 22fab71e-ec60-4910-8530-0e54a186ee40
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Date deposited: 07 Apr 2022 16:37
Last modified: 17 Mar 2024 02:43
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Author:
Hee-Young Chung
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