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Male Crisis in New Korean Cinema: Reading the Early Films of Park Kwang-su

Male Crisis in New Korean Cinema: Reading the Early Films of Park Kwang-su positions 9:2 Fall 2001 Ch’il-su’s desires. Second, through the activation of the spectatorial desire of a character in the movie, it also reminds Chilsu and Mansu’s viewers of Ch’il-su’s reality where his potency and masculinity have been constantly undermined. By specularizing Rocky, Ch’il-su’s emasculation is exposed. He has been lying to Chi-na, who is looking for her prospective husband; he tells her that he attends a prestigious art school and his departure to the United States is imminent. Ch’il-su identifies with Rocky, but it is an identification that operates on masochistic impulses that both fetishize the white man’s splendid body and punish his ego through guilt and shame as an unemployed working-class man who has camouflaged his identity even to his girlfriend. He tries to overcome his vulnerability and anxiety by overcompensating for his frail masculinity. He takes advantage of the dark movie theater and tries to get intimate with Chi-na. While James Brown sings in his glittery red-white-and-blue suit, Ch’il-su awkwardly reaches out to hold Chi-na’s hand. His advance is thwarted when she pinches him. The denial of his desire further humiliates Ch’il-su. It reminds him of his miserable reality rather than making him forget his lies, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png positions asia critique Duke University Press

Male Crisis in New Korean Cinema: Reading the Early Films of Park Kwang-su

positions asia critique , Volume 9 (2) – Sep 1, 2001

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Publisher
Duke University Press
Copyright
Copyright 2001 by Duke University Press
ISSN
1067-9847
eISSN
1527-8271
DOI
10.1215/10679847-9-2-369
Publisher site
See Article on Publisher Site

Abstract

positions 9:2 Fall 2001 Ch’il-su’s desires. Second, through the activation of the spectatorial desire of a character in the movie, it also reminds Chilsu and Mansu’s viewers of Ch’il-su’s reality where his potency and masculinity have been constantly undermined. By specularizing Rocky, Ch’il-su’s emasculation is exposed. He has been lying to Chi-na, who is looking for her prospective husband; he tells her that he attends a prestigious art school and his departure to the United States is imminent. Ch’il-su identifies with Rocky, but it is an identification that operates on masochistic impulses that both fetishize the white man’s splendid body and punish his ego through guilt and shame as an unemployed working-class man who has camouflaged his identity even to his girlfriend. He tries to overcome his vulnerability and anxiety by overcompensating for his frail masculinity. He takes advantage of the dark movie theater and tries to get intimate with Chi-na. While James Brown sings in his glittery red-white-and-blue suit, Ch’il-su awkwardly reaches out to hold Chi-na’s hand. His advance is thwarted when she pinches him. The denial of his desire further humiliates Ch’il-su. It reminds him of his miserable reality rather than making him forget his lies,

Journal

positions asia critiqueDuke University Press

Published: Sep 1, 2001

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