Thursday, January 03, 2008

태극기 ~ Tae Guk Gi—The Brotherhood of War

The movie Tae Guk Gi—The Brotherhood of War was one of the most emotional films I have ever seen. By the end of the film, I could not stop crying for the bitter lot of the two brothers, especially Lee JinSeok (이진석), the younger brother. He desperately tries to keep his brother from sacrificing himself for him, and through this, he is forced with unbelievable hardship, to grow out of an innocent schoolboy and into a mature soldier.

The main theme of the movie is exploring how the bond between two brothers can be ravaged and thrashed to absolute extremes by unimaginable forces, which in this case is the war in 1950 between North and South Korea. Albeit this monstrous force, the bond is still able to hold on until the very end.

The two brothers start out being poor but happy shoe-shine boys in the streets of a village near Seoul. Then, by an evil twist of fate, they are drafted by merciless recruiters to join the unexpected war effort. There, JinSeok’s older brother JinTae (이진태) tries to do everything he can to both keep his brother out of danger, and to get his brother discharged and sent home. JinSeok, on the other hand, is alarmed by his brother’s mindless boldness on the battlefield to achieve these goals, and wishes that JinTae would not risk so much for his brother. The movie then takes us through many tense battle scenes as the South Koreans slowly advance on North Korea, and at the same time, JinTae becomes more and more absorbed in trying to get the medal that will in theory allow him to send JinSeok back home. After North Korea reconciles their war effort with Chinese reinforcements, JinSeok ends up imprisoned under suspicion of being a Communist. JinTae attempts to rescue him, but seems to fail as the commander who should have issued JinSeok’s release orders him to be burned instead. This drives JinTae insane and he joins North Korea to fight the evil South Koreans who killed his brother. Meanwhile, JinSeok is alive and learns of his brother and flees the South Korean army to see him. After a long, gut-wrenching scene of trying to make JinTae come back to his senses, he finally realises that JinSeok is really still alive and tells him to flee, promising to return. Here, the movie comes full circle with the archaeology scene it started with, but now we see an old JinSeok looking down at the bones of his boor brother and crying his remorse about how his brother never returned.

Even though this movie has so many special effects and stunts created to make the battles seem realistic, which are in fact, extremely successful and effective, these are only background effects. They are not what you remember about each scene they are featured in after seeing them. What you remember is the tension and how you plead in your mind for the characters not to do something (such as run through enemy fire, or hit each other), and how you can almost literally see the bond that ties the brothers together being violently jerked and stretched to the breaking point. It is one of those movies which I don’t want to keep watching because of the exhausting emotional experience, but cannot stop watching at the same time because of the suspense and beauty of it all.

Tae Guk Gi is an unforgettable emotional experience that will make you rethink how you take those close to you, and their love, for granted in such an eye-opening way that it will stay with you for a very long time.

준향 ~ Chunhyang

The movie Chunhyang by director Im KwonTaek (임권택) is very unique and interesting. The film, though simple in plot structure, is still very captivating and original, allowing the viewer to experience an emotional journey with the focus of the movie, Chunhyang (played by Lee HyoJeong) who is an innocent daugther of a courtesan. She undergoes cruel punishments and near execution for the sake of trying to remain faithful to her husband.

The type of story told in the film is a stereotypical folk tale with an ultimately good and innocent party, which is Chunhyang, Mongryong, and their friends, and an ultimately evil and cruel party, Gov. Byun Hakdo. It is the story of the evil governor trying to break the love bond that Chunhyang has for Mongryong, but failing and being punished for his evil misdeeds.

The story starts out with a singing narrator beginning a korean story-telling in lyric singing. This is one of the uniquenesses of the movie—often times, this singing narrator will chant whatever is being shown on the screen at the moment like “Mongryong flips open his fan to block out the sun” or “Pangja jumps over the stones and dances through the bushes.” It is rather queer at first but then one gets used to this concept, and sometimes it is rather helpful to explain a scene. Mongryong, the son of a wealthy nobleman, falls in love with Chunhyang at first sight, and asks her to marry him. This must be kept a secret, however, to allow Mongryong to take his state exam. Under unfortunate circumstances, he has to leave the town that they both live in, and cannot take Chunhyang with him. While he is away, the evil governor becomes instated in Chunhyang’s district, and orders her to be his courtesan. She pleads that for a woman to serve more than one man is like for a governor to serve more than one king. The governor proceeds to beat her and plans to kill her. Meanwhile, Mongryong successfully becomes an emissary for the king after taking the test, and comes back to Chunhyang’s village to investigate. The day before Chunhyang is scheduled to be executed, Mongryong stages a planned mass arrest of the evil governor and all the embezzling nobles, thus saving his love and his country.

The use of special effects in this movie was rather insignificant. Instead, the director relied on subtle scene creation such as camera angle and sound editing that made every scene seem appealing and kept me focused and impatient to know how the story continues. The simplicity of this story had a purpose as well. It was to take a well known general scenario, and explore the details that may be used to put it to-gether.

Chunhyang is a well-known folk tale told in a unique style that takes the viewer through the story not only with the conventional film, but with the traditional Korean way of story-telling.

스캔들 ~ Untold Scandal

The movie Untold Scandal, by Lee JaeYong, was very intriguing and an ingenious story, though unnecessarily stretched out. There were many confusing parts, but in the end, everything was brought to-gether to make shocking sense. The main character, Cho Won (Bae YongJoon), wins a bet with his cousin, Madam Cho (Lee MiSuk), but in the process creates a fatal wound in the hart of others, as well as his own.

The main theme of this movie is that it is dangerous to play with other people’s hearts, bycause the repercussions can be unimaginable. Here, it not only causes the deepest emotional pain, but even death itself, and the lessons learned from this horrible experiment are lifelong.

The plot starts out with Cho Won making a bet with Madam Cho that if he is able to seduce a 27-year-old virgin widow, Lady Jung (Jeon DoYeon), then Madam Cho will give him one night of lovemaking as a reward. Otherwise, Cho Won must forefeit his enormous love life and lust, and become a chaste monk. Madam Cho will know he accomplished his task by receiving a cloth with the blood of Lady Jung. Through much intrigue, lying, and secrecy, Cho Won manages to break through the thick walls of Lady Jung’s heart, and make her believe he loves her. But the bloody rag is not enough for Madam Cho as evidence. This causes Cho Won to take more heartless measures. When Lady Jung visits him next, she finds him with another girl, and he tells her that he never loved her. Lady Jung is devastated and returns to her home village to tend to those ravaged by the plague going on there, and refuses to eat or drink. Word of this convinces Madam Cho that Jung really is in love with Cho Won, but by this time Cho Won’s heart is already with Lady Jung. After failing one last time to ask Lady Jung for forgiveness, Cho Won returns home, where he is stabbed by Jung’s outraged brother after hearing rumours about Cho Won and Jung. News of this takes the last shreds of hope away from Lady Jung and she takes her own life in despair, and Madam Cho, who was in love with Cho Won all this time, is devastated as well, and forced to flee the country with a leaden weight in her heart.

One of the strangest things in the movie is that every little prop in every scene is simply immaculate. Even in the secret Catholic meetings every garment is perfectly pressed and every inch of wooden floor is shining. Are the Koreans trying to please a certain audience with this, or does it carry some symbolic meaning to the movie? Additionally, many of the scenes seem very drawn out. If they were shortened, then the movie experience would be much better. What is most memorable about the movie (other than the pristine condition of everything) is poor Lady Jung and how her heart was completely shattered by a careless Cho Won.

Though mostly geared for women, Untold Scandal is an entertaining and fascinating rendition of the novel Les Liaisons Dangereuses by Choderlos de Laclos that highlights the importance of keeping a game involving people’s hearts from getting out of hand.

Film Analysis Seniour Project Research Paper Proposal

1) The focus of my research will center around exploring the history, magnitde, and manner of the portrayal of homosexual people and gay rights in film. I will try to answer such questions as “How long has there been a presence of gay characters in film?” and “How have gay characters in film been treated, and how has that changed over the decades?”

2) Some primary sources could include Ruth and James Gibbs at Los Altos High School, Leslie Bulbuk, president of BAYMEC, and Eileen Ross and Shannon Turk at the Community Health Awareness Center with the Outlet program for queer youth.

3) Some secondary sources can be websites such as or books like Masculine Interests: Homoerotics in Hollywood Film by Robert Lang. There are many secondary sources available on this topic.

4) Some early films such as Our Betters, and Queen Christina, some less old movies like Suddenly Last Summer, and Boys in the Band, and newer films such as Brokeback Mountain, Mean Girls, Saved, The Bird Cage, To Wong Foo Tanks for Everything, Julie Newmar, and many more can all be very instrumental in generating research material for this project.

Korean Film ~ A Spectrum of Emotion

In The Art of Watching Films ~ Sixth Edition by Boggs and Petrie, we are introduced to the theory that “This manipulation [of emotions] myst be honest and appropriate to the story. Usually we reject as sentimental films that overuse emotional material. Such films might even make us lugh when we’re supposed to cry. So a filmmaker must exercise restraint,” (49). So if a movie has either more or less emotional restraint than prescribed by the authors, the movie will either become silly or bland, and the audience will not take it seriously. Although this statement can be true for many movies that have failed by doing just that, we are led to question whether this theory is really true for all cases. Though The Art of Watching Films is tells us that it is impossible to expand the horizons of emotion, this is not at all an impossible task, as some ingenious directors working in South Korea have demonstrated. These directors stretch the boundaries of emotion and emotional restraint in their films, but despite that, are able to make captivating and memorable movies that keep the audiences coming back for more.

The quantity of emotion used in some Korean films is so copious that it would obviously make the audience receive it as ridiculous. But in actuality, it only serves to make the film stronger. This is an element of the film Jibeuro ~ The Way Home by director Lee JeongHyang, which is about a young spoiled grandson SangWoo, played by Kim EulBoon, learning love and respect for his aged, mute grandmother, played by Yu SeungHo. At one point in the film, SangWoo throws a hysteric fit about not getting the precise kind of chicken that he wanted for dinner. This would appear to be an overuse of emotion, because the viewer is prone to laughing at the scene, but it isn’t, because the scene conveys the ridiculousness of the situation by overdramatizing the events and adding some humour to the otherwise tense and hopeless point in the story. In contrast, at the end of the film, when the grandson realises that he’s been mean and insensitive, he starts being nice to his grandmother and cries when he has to leave her. Though this is rather melodramatic, it is very effective in emphasizing the transformation that SangWoo went through. By exaggerating the emotions of this scene, the director tries to convey to the audience that if they tried to go through a similar transformation, they will have a similar feeling of emotional release and happiness.

Another outstanding example of the use of generous emotion is Tae Geuk Gi ~ The Brotherhood of War, by director Kang JeGyu, in which two brothers are forced to fight in a war, which does all it can to tear their brotherly bond to shreds. Even though it manages to do so physically—by killing one of the brothers—the emotional bond between them never even wavers. While watching this movie, there was more than one place where I burst into tears because it was so emotionally charged, like the scene where the older brother JinTae is with the enemy army killing South Koreans, and refuses to believe that he is trying to kill his brother JinSeok, no matter how hard JinSeok pleads with him. It is a really tense and despair-filled scene and it brings out the deepest emotions. But it never felt as though the film is deliberately trying to milk tears out of the viewer like some Hollywood movies do. On the contrary, the beauty and truth of the movie created an atmosphere where one just can’t help but become emotional. These two directors have successfully been able to open new grounds in the area that Boggs and Petrie would have called a “lack of emotional restraint,” proving that it is not necessarily an undesireable concept.

On the other hand, some Korean directors choose to put a surprisingly small amount of emotion in places that would seem to have to burst with it. One such inconsistency is found in Chi-Hwa-Seon ~ Painted Fire by director Im KwonTaek, about a prodigious artist whose incredible skill brought him world-fame. He could never be happy, however, because the girl that he loved was in a different class than he, and in the end she married another, causing OhWon, the artist, to become a drunk, homeless wanderer. However, when this marriage happens, it is not a huge dramatic scene with tears and great sadness. On the contrary—we see OhWon go through an angry fit and then leave and start his wanderings. Instead of the audience being shocked and emotional, the movie has the audience accept this as just an event that happens and move on to the rest of the plot. And even though there could have been an emotional scene that could have worked well, this style works well for the film as well, because it reflects the artist’s wandering lifestyle and introversion, making you question whether OhWon himself really thought about what had happened, or whether he just acted on impulse. Therefore, KwonTaek effectively uses the lack of emotion itself as symbolic. A similar example is in the movie Untold Scandal by director Lee JeYong, which is about ChoWon, the cousin of Madam Cho, going too far in his attempts to prove the love of the widowed Lady Jung, a 27-year-old virgin, to Madam Cho. To accomplish this, he calls Lady Jung to see him, but when she arrives, excited and impatient to see her love again, he greets her sitting behind a windowsill with a young pretty girl, who giggles and runs away. ChoWon simply gives Lady Jung a cold heartless look, and after understanding what has happened, the lady passes out. The coldness and heartlessness of ChoWon’s actions towards Lady Jung is emphasised by the lack of emotion attached to this scene. It is almost as though the audience takes on ChoWon’s emotional perspective during this action, feeling no remorse for the actions and only focusing on winning the bet with Madam Cho. Similarly to Painted Fire, the director overuses emotional restraint as a symbol, to emphasise a point. But in contrast to the same movie, the audience is still feeling high emotional tension and a need for release during this emotionless scene, making it even more powerful. Clearly, in both of these films, the directors showed that overuse of emotional restraint can be a powerful element of a film, capable of conveying more meaning than the emotional style prescribed by Boggs and Petrie in their textbook.

It is obvious that, albeit an understandable perspective gained from collected research, Boggs and Petrie are wrong to assume that all movies must follow similar emotional formulae in order to be successful. These four masterful directors, among others, have unquestionably demonstrated that there can be great effect and meaning conveyed by using more or even less than the expected amount of emotion in a scene of a film. We are now left to question the extent to which Boggs and Petrie have erred. Is it only Korean directors that have this impressive ability to extend the horizons of emotion in films, or do other cultures have the same capacity? Is it coincidence that these four outstanding examples are all Korean-made, or is the opposite true, that the amount of such successful deviations from Boggs and Petrie’s theory found in just Korean films reflects that there are just as many examples in other cultures, resulting in a great conglomeration of counterexamples to this theory? Further research may reveal the answer to this important question, and whether this theory should be altogether refuted, or whether it can be applied with great caution.

Wall Street Movie Essay

The movie Wall Street demonstrated how the dollar, the fundamentally scarce resource, is traded, utilised, and allocated in the stock market. The two main characters in the film, Bud Fox and Gordon Gekko, exploit this allocation medium by using inside information. The main focus of the economic aspects of the movie is how greed contributes to our society.

The stock market is a great tool in to-day’s economy. It allows companies to raise money much more easily, and also has great liquidity in the exchanges which reduce the time and effort of selling securities. The limitations of this system, on the other hand, is that it is similar to gambling. If one invests money into stocks of a certain company, it is almost impossible to predict whether one will gain or lose money in the long, or short run. Thus, many people have lost a lot of money in the stock market. If this system were applied universally to the economy, it would most likely actually detriment the economy. For example, real estate is not part of the stock market. If it was, then people could invest their house into a company, and then if the company started to lose price, the investor could lose their house. Universalising the stock market would probably hurt a lot more people than it would benefit.

Our economy is largely driven by the guiding principle of self-interest, which states that people will only undergo transactions that benefit them directly, and they will always pick the one that benefits them most if there is a choice. However, this is not enough to drive the optimal functioning of the economy. If personal self-interest were to be allowed to have complete control of the economy, one consequence could be the creation of economic giants such as Rockefeller that can take over the economy of the entire country. In a less extreme scenario, people would lie and double-cross each other in nearly every transaction to ensure they get the most out of the bargain. This is clearly an unesireable world to live in. The way to counterbalance it is by introducing a government which guides the nation in the proper course, and an accompanying set of laws imposed over economic proceedings that will return an economy threatened by the aforementioned consequences into relative equilibrium. Such resolution is evident at the end of Wall Street when Bud Fox’s illegal transactions are uncovered by the police and he is arrested and incarcerated. Otherwise, self-interest is a sufficient guiding principle for the economy within these legal restrictions. In fact, it is what assures that economic supply and demand returns to equilibrium in every possible scenario.

Thus, as long as it does not get out of hand, personal self-interest is a sufficient guiding principle for the optimal functioning of the economy.

The Transformation of the U.S. Economy

Everyone knows about the thirteen colonies that started the United States, and everyone realizes that we have come a long way since then. But what many people may not know is that our economy has taken leaps and bounds since the 1700s the size of star systems and galaxies. The United States’ economic progress is one of the most astonishing phenomena in economic history, but it wasn’t a coincidence. The reason we got this far is because of the occurrence of specific, fundamental changes that completely revolutionized the way we run the country’s economy between the 1700s and today.

At the onset of the 1700s, the (soon to be) thirteen colonies were finally beginning to settle in and develop a sense of unity and economy. Everything was in its beginning stages, however, and still at a very small scale, especially compared to today’s giant. The Gross Domestic Product of all the colonies combined at that time was around $500 million, and the per capita GDP was only about $500. This is because most of the population were not only farmers, making little money off the inefficient production of crops, but they were mostly self-sustaining, contributing little to the overall economy, and not often involved in the exchange of money for goods. Most of the colonies produced raw materials like fish, wood, meat, grains, &c., but every colony was very inefficient at producing these, since they were trying to fulfill their own needs by themselves rather than making what they make best, and trading. In addition, the governing body was very weakly involved in economic affairs of the colonies, not using its sovereignty to create a better productive and allocative efficiency, which would have benefited them immensely. For example, The Economies in the 1720’s states that New Hampshire “would produce hemp and flax if proper encouragement were given for it, and the people had good seed for the first sowing.” This is clearly a job for the government, but since it pledged not to be economically involved, it failed to provide the aid to get the colony started on this production. This is indeed quite a problem for the colonies, as most of the aforementioned report lists many products made by each colony, and immediately after lists many other products that the colony would be more suitable and effective making. Though they bring in a £200,000 surplus, the colonies could definitely use some organizational improvement to boost the economy, and that is exactly what they will get before the century is done.

One of the biggest influences between 1700 and 1800 that changed the economic organization of New England was the ratification of the United States Constitution, and the unification of the thirteen States. This created a centralized government among the States (rather than overseas) which could make decisions and enact changes a lot more efficiently than the British throne could. That, in addition to a steady increase of population due to a constantly expanding rate of immigration from Europe gave the U.S.’s GDP a nice 800% boost up to $4 billion. In addition, it is clear that this expansion is not solely the result of a greater population, because the per capita GDP also rose by 160% to $800 per person, meaning that individuals were overall better off in 1800 than in 1700. This can only mean that the “encouragement” mentioned in The Economies in the 1720’s that the colonies needed to produce the right materials to be more efficient was adequately provided to make the nation indeed more efficient. Upon further examination, we see that in the 1700s, “No mines are yet discovered [in Virginia], except iron, which are very common, but not wrought, for want of a sufficient stock, and persons of skill to engage in such an undertaking,” but in The Economies of the British North American Colonies in 1763 we see that Virginia is making £35,000 in iron bars and pigs. This is a clear sign of higher entity involvement, to organize and provide the sufficient stock and persons of skill to successfully start producing this export. Though the economy of the United States did expand between 1700 and 1800, it was still at a crawl compared to the revolution it would experience in the next century.

Comparing the U.S. economy in 1900 to that of 1800 is like comparing the wallet of a farmer to the wallet of an entire company. The Gross Domestic Product of the nation expanded seventy-three-fold during the 1700s bringing it up to $292 billion, and the per capita GDP went up five times to $3900 per person. This is an economic revolution of unprecedented magnitude, and it was due to several coinciding factors that created a very curious effect. The promise of free land in the United States created a competition for the best workers, which in turn made the States have the highest wages in the world. This, coupled with the freedoms of religion, politics, and especially economics, attracted an immense wave of immigrants that brought the population of the U.S. up fifteen times to 75 million people in 1900. The presence of this vast amount of producers and consumers, aided by stunning technological breakthroughs, such as railroads and steamships created the largest scale production processes in the world. When we take into account that the U.S. had created a corporate form of organization for its multitude of firms, and that they benefited from a massive import of capital from Europe, we see how the per unit cost also becomes extremely low—the lowest in the world. And finally, the presence of such a low cost drives the market size even larger. Suddenly, the improvements in the economy become linked in a circle, called the Virtuous Circle. Once the economy started doing rounds about this circle, it became completely transformed. No longer was the population so greatly concentrated on self sufficient farmers. National transportation networks and factory and assembly-line production methods made the products of these methods the dominant figure in the economy. Ultimately, the United States progressed from an agricultural nation to an industrial nation by 1900, but far more successfully than its European counterparts, as it now held a larger relative share of world wealth than any other country (38%).

Though the change of the economy between 1800 and 1900 seems tremendous, the next century brought about a transformation that was truly unbelievable. Between 1900 and 2000, the economy absolutely skyrocketed, bringing the GDP up 3,424% to ten trillion dollars, and the per capita GDP increased nine fold, up to $35,000 per person. There are many reasons for the occurrence of this, such as a continued increase of population and amount and intensity of land usage, and massive increases in government intervention and presence in the US economy. But probably the greatest force behind the economy’s transformation is the complete integration of oil into everything used by consumers in the United States. Oil was the driving force behind many revolutionary innovations in technology like cars, electricity, highways, and so on, which in turn helped to make everything unbelievably cheap and convenient and easy to make, expanding industry after industry ever more and constantly racking up the standard of living to new heights. All these advances thrust the United States out of the industrial age and into a level of post-industry. Except of course for the basic needs that are still depended on by the country, like farmers, electricity, and the like, the United States has outsourced a large portion of its manual labor to other countries, and instead taken on the role of an intellectual pedestal from which products are imagined and planned, and then made by other nations for us. As a result, we have become dependent on imported goods to satisfy our needs, because domestic production of these things (like toys or clothing) has virtually stopped.

It is difficult to foresee what the economy will be like in the future, but we can make some preliminary hypotheses in several different ways. The first is to look at the long run trends and expand them to our desired year of 2100. This would result in a GDP of somewhere around $250 trillion by 2100, and a per capita GDP of around $100,000. However, this is assuming that the US will follow the same development pattern as it has been for the previous three centuries. This is fundamentally flawed, because the only pattern that the United States has been following during this time is the miraculous invention of some new technology that revolutionizes the principal methods that we use to run our lives. And unless this standard is lived up to in the next 100 years, and on top of that, the previous inventions and resources persist, the economy may follow the aforementioned prediction. But it is common knowledge that there are many obstacles, the greatest of which is the end of oil, which undermines the persistence of (the most valuable) resources that allow us to run the economy so efficiently. In fact, current research is uncovering that the economic growth rate of the U.S. is slowing down at a very quick rate. Therefore, the nation seems to have two possible economic outcomes. The first is another genius invention or two that will allow us to stop relying on oil so much, but continue to use the products we use today at the same rate. This will ideally allow the economy to continue propelling itself upward as it has been doing in the past 2 centuries. The second is a slow decline of the economy and a long tumble of the United States from the throne of the world, because of the inability of the States to sustain themselves solely by borrowing (or stealing) other nations’ capital.

In conclusion, the history of the US economy is very impressive and worthy of honor. The country went from a loosely connected conglomerate of poor farmers to an economic giant dwarfing its neighbours in the world in the span of a few centuries. It went from being a purely agricultural society, to an efficient and effective industrial power with advanced assembly-lines and mass-production techniques, to a post-industrial society that tells the rest of the world how to make life better for its own residents, all through a few similar forces acting upon the economy, like ever-increasing population size, land use efficiency, and government intervention on the economy, and new and revolutionary inventions that provided us with new projects upon which to elaborate and keep up the upward momentum of the economy. The most important question to ask, then, is whether this trend will continue on into the future, or if the nation has finally reached a maximum and will now start declining out of prominence.