Hee-Seung Irene Lee
Biographic Data
| ID | 3464337 |
|---|---|
| NAME | Hee-Seung Irene Lee |
| GIVEN NAMES | Hee-Seung Irene |
| FAMILY NAME | Lee |
| SIGNATURE | LEE H I |
| AFFILIATIONS | University of Auckland |
| ORCID | 0000-0002-5016-8253 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Transnational panorama on Netflix
Hallyu has expanded significantly through digital platforms since the 2010s. While Netflix has played a crucial role in distributing Korean content worldwide, its platform-driven strategies typically favour commercially optimised and formulaic narratives. This article examines an alternative dynamic through the 2021 Netflix docuseries My Love: Six Stories of True Love , which builds upon South Korean director Moyoung Jin’s earlier independent doc…
Aging, femininity and class
This article explores the representation of elderly women, termed ‘halmeoni’ in Korean, in contemporary South Korean films to discover traces of departure from previous modes of representation of aging femininity on screen. The discussed films feature elderly female characters onto whom the persisting double standard of aging between men and women is projected. Additionally, the films convey the harsh realities faced by these female characters, r…
The ethics of becoming a subject // A reading of Hong Sang-soo’s Right Now, Wrong Then (2015)
Hong Sang-soo’s recent film, Right Now, Wrong Then (2015), features a film director who idly spends a day in a strange city and meets a female artist whom he instantly falls for. Hong constructs an interesting template for this banal encounter: the film’s narrative is evenly divided into two parts, only to repeat the same story twice without any causal connection. The juxtaposition of two versions of the same story, however, weaves a web of minut…
My name is Oh Dae-su
Oldboy [Oldeuboi; Park, Chan-wook, dir. 2003. Oldboy. Seoul: Egg Films] is known for the characteristical postmodern jest while it stylistically visualises extreme violence on screen. From a slightly different purview, the following discussion will read the mythical implications in Oldboy to explore a less investigated perspective on the film itself as well as the opus of this Asian filmmaker who created a renewed image of the myth of Oedipus. Fi…
No prominent works on this page.
My name is Oh Dae-su
Oldboy [Oldeuboi; Park, Chan-wook, dir. 2003. Oldboy. Seoul: Egg Films] is known for the characteristical postmodern jest while it stylistically visualises extreme violence on screen. From a slightly different purview, the following discussion will read the mythical implications in Oldboy to explore a less investigated perspective on the film itself as well as the opus of this Asian filmmaker who created a renewed image of the myth of Oedipus. Fi…
The ethics of becoming a subject // A reading of Hong Sang-soo’s Right Now, Wrong Then (2015)
Hong Sang-soo’s recent film, Right Now, Wrong Then (2015), features a film director who idly spends a day in a strange city and meets a female artist whom he instantly falls for. Hong constructs an interesting template for this banal encounter: the film’s narrative is evenly divided into two parts, only to repeat the same story twice without any causal connection. The juxtaposition of two versions of the same story, however, weaves a web of minut…
Transnational panorama on Netflix
Hallyu has expanded significantly through digital platforms since the 2010s. While Netflix has played a crucial role in distributing Korean content worldwide, its platform-driven strategies typically favour commercially optimised and formulaic narratives. This article examines an alternative dynamic through the 2021 Netflix docuseries My Love: Six Stories of True Love , which builds upon South Korean director Moyoung Jin’s earlier independent doc…
Aging, femininity and class
This article explores the representation of elderly women, termed ‘halmeoni’ in Korean, in contemporary South Korean films to discover traces of departure from previous modes of representation of aging femininity on screen. The discussed films feature elderly female characters onto whom the persisting double standard of aging between men and women is projected. Additionally, the films convey the harsh realities faced by these female characters, r…
Asian Culture and Media Studies (4 works) · Art (3 works) · Sociology (3 works) · Aesthetics (2 works) · Gender Studies (2 works) · Law (2 works) · Literature (2 works) · Narrative (2 works) · Political science (2 works) · Aging and Gerontology Research (1 works)