000			02149cam a2200277 a 4500
008			110822s2012 ilua bq s001 0 eng
020			_a9780252078415
020			_a0252078411
020			_a9780252036699
020			_a0252036697
020			_a40020553058
040			_aSDU
050	0	0	_aPN1998 _bC559 K 2012
100	1		_aChung, Hye Seung,
245	1	0	_aKim Ki-duk / _cHye Seung Chung.
260			_aUrbana : _bUniversity of Illinois Press, _cc2012.
300			_ax, 161 p. : _bill.
490	0		_aContemporary film directors
505	0		_aBeyond "extreme": the cinema of ressentiment. Kim Ki-duk: towards a more perfect imperfection -- An auteur is born: fishhooks, critical debates, and transnational canons -- On suffering and sufferance: postcolonial pain and the "purloined letter" in Address unknown -- Reconciling the paradox of silence and apologia: Bad guy, The isle, and 3-iron -- Neofeminist revisions: female bodies and semiotic chora in Birdcage inn and Samaritan girl -- The bodhisattva inner-eye: inwardly drawn transcendence in Spring, summer, fall, winter -- and spring -- Interview with Kim Ki-duk: from Crocodile to Address unknown / by Kim So-Hee.
505	0		_aHKBU library
518			_aYT2025 M09
520	8		_aThis study investigates the controversial motion pictures written and directed by the independent filmmaker Kim Ki-duk, one of the most acclaimed Korean auteurs in the English-speaking world. Propelled by underdog protagonists who can only communicate through shared corporeal pain and extreme violence, Kim's graphic films have been classified by Western audiences as belonging to sensationalist East Asian "extreme" cinema, and Kim has been labelled a "psychopath" and "misogynist" in South Korea. Drawing upon both Korean-language and English-language sources, Hye Seung Chung challenges these misunderstandings, recuperating Kim's oeuvre as a therapeutic, yet brutal cinema of Nietzschean ressentiment (political anger and resentment deriving from subordination and oppression).
600	1	0	_aKim, Ki-dŏk, _d1960- _xCriticism and interpretation.
900			_a= C.1 SDU
942			_cGBE _2lcc
999			_c104974 _d104974