Abstract: Hollywood has produced various blockbusters on the
subject of disasters. Entering the 2000s, disaster films began to be
produced in the East Asian region as well, and as most of them were
successful, disaster films have settled as a popular genre in the region.
East Asian disaster films utilize a plot structure similar to Hollywood
films but, at the same time, represent East Asian people-s unique value
system. East Asian people-s social behavior pattern defined as
collectivism is a characteristic that distinguishes this region from other
cultural regions. In order to examine Confucian culture in disaster
films on the premise of the difference, the author conducts this
research as follows.This study first reviews the concepts disaster and
disaster film, and understands the genre through analyzing the
narrative structure and style. In addition, it discusses collectivism, a
characteristic of the East Asian region distinguished from the West,
and investigates Confucian culture in films and examines differences
among Korean, Chinese and Japanese Confucianism. Films selected
for this study are Tidal Wave (Korea, 2009), After Shock (China,
2006), and The Sinking of Japan (Japan, 2006). Using the characters in
these films, we analyze how Confucian thought is described and
reproduced.
Abstract: As an adult man and woman love each other and come to have faith in each other as their spouse, they marry each other. Recently people-s economic life has become individualized and women are enjoying a high education level and increased participation in social activities, and these changes are creating environment favorable for single life. Thus, an increasing number of people are choosing celibacy, and many people prefer cohabitation to marriage. Nevertheless, marriage is still regarded as a must-to-do in our thought. Most of people throughout the world admit marriage as one of natural processes of life, and is an important passage rite in life that all people experience as we can see everywhere in the world despite the diversity of lifestyles. With regard to wedding ceremony, however, each country and culture has its own unique tradition and style of festival. It is not just a congratulatory ceremony but contains multiple concepts representing the age, country or culture. Moreover, the form and contents of wedding ceremony changes over time, and such features of wedding ceremony are well represented in films. This study took note of the fact that films reflect and reproduce each country-s historicity, culturality and analyzed four films, which are believed to show differences between Eastern and Western wedding ceremonies. The selected films are: A Perfect Match (2002), Marriage Is a Crazy Thing (2001), Bride Wars (2009) and 27 Dresses (2008). The author attempted to examine wedding ceremonies described in the four films, differences between the East and the West suggested by the films, and changes in their societies.
Abstract: In films, visual effects have played the role of
expressing realities more realistically or describing imaginations as if
they are real. Such images are immediated images representing
realism, and the logic of immediation for the reality of images has
been perceived dominant in visual effects. In order for immediation to
have an identity as immediation, there should be the opposite concept
hypermediation.
In the mid 2000s, hypermediated images were settled as a code of
mass culture in Asia. Thus, among Asian films highly popular in those
days, this study selected five displaying hypermediated images – 2 Korean, 2 Japanese, and 1 Thailand movies – and examined the
semiotic meanings of such images using Roland Barthes- directional and implicated meaning analysis and Metz-s paradigmatic analysis
method, focusing on how hypermediated images work in the general
context of the films, how they are associated with spaces, and what
meanings they try to carry.