The Korean mother in contemporary thriller films
A Monster or just modern
Bibliographic Data
| ID | 7525485 |
|---|---|
| Authors | Andrew David Jackson (0000-0003-0502-4880, corresponding author), Ji-yoon An (University of Tübingen, corresponding author) |
| Year | 2019 |
| Volume | 11 |
| Issue | 2 |
| Pages | 154-169 |
| Publication date | 2019-07-03 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Japanese and Korean Cinema (JOURNAL) |
| Journal identifiers | ISSN: 1756-4905 • E-ISSN: 1756-4913 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/17564905.2019.1661655 |
| OpenAlex | W2972797613 |
| Language | EN |
| Citations received | 2 |
| References cited | 1 |
This paper investigates the short-lived and easily overlooked cycle of Korean thriller films centring on mother characters in the mid-to-late-2000s. I call these films ‘mother thrillers.’ Through an analysis of the cycle’s key recurrent characteristics, I explore the reasons behind the popularity of this cycle, as well as the social commentary offered by such films. Focus is laid primarily on Bong Joon-ho’s Mother (2009) and Seven Days (dir. Won Shin-yeon, 2007) as examples of the sub-genre, though other films are also referenced. Before offering such analyses, the paper examines a film from the 1980s that can be labelled a direct precedent of contemporary mother thrillers: Park Chul-soo’s Woman Requiem (1985). By first exploring this film, the paper sets a historical precedent for the contemporary cycle, while also bringing awareness to this neglected work
Aesthetics · Art · Art history · Focus (optics · Literature · Monster · Optics · Political science · Popularity · Sociology · Asian Culture and Media Studies · Cinema and Media Studies · Gender Studies · History · Japanese History and Culture · Law
| Citations per year | 0.33 |
|---|---|
| Citation span | 2020 - 2022 (3) |
| Highly cited | No |