The Wailing (곡성) - 편집 역사

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‎References

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‎Bibliography

Md1821: /* Colonial Trauma */

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‎Colonial Trauma

Md1821: /* Shamanism */

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‎Shamanism

Md1821: /* Possession VS Zombie */

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‎Possession VS Zombie

Md1821: /* Possession VS Zombie */

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‎Possession VS Zombie

Md1821: /* Zombie */

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‎Zombie

Md1821: /* Possession VS Zombie */

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‎Possession VS Zombie

Md1821: /* Possession VS Zombie */

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‎Possession VS Zombie

Md1821: /* References */

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‎References

← 이전 판		2022년 12월 22일 (목) 14:08 판
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	Shin, Hisup. "Monstrous National Allegory: The Making of Monstrous Otherness in Na Hong-jin's The Wailing." ''Journal of Film and Video'' 1, 72 (3-4) (January 2020): 90-101. doi: https://doi.org/10.5406/jfilmvideo.72.3-4.0090		Shin, Hisup. "Monstrous National Allegory: The Making of Monstrous Otherness in Na Hong-jin's The Wailing." ''Journal of Film and Video'' 1, 72 (3-4) (January 2020): 90-101. doi: https://doi.org/10.5406/jfilmvideo.72.3-4.0090
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−	~~=='''References'''==~~
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	=='''External Links'''==		=='''External Links'''==

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 Kim, Jeong-sook, George Mathew. "Humanization and Divination: The Theological Dimension of Salvation as Revealed in Korean Shamanism." ''Asia Journal of Theology'' 18, no. 1 (April 2004): 69-81. https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=12627284&site=ehost-live.
-Miller, Cynthia J., Van Riper A Bowdoin, and Luisa Hyojin Koo. “Korean National Trauma and the Myth of Hypermasculinity in The Wailing (2016).” Essay. ''In Dark Forces at Work: Essays on Social Dynamics and Cinematic Horrors''. Lanham: Lexington Books, 2020.
+Miller, Cynthia J., Van Riper A Bowdoin, and Luisa Hyojin Koo. “Korean National Trauma and the Myth of Hypermasculinity in The Wailing (2016).” Essay. ''Dark Forces at Work: Essays on Social Dynamics and Cinematic Horrors''. Lanham: Lexington Books, 2020.
 Shin, Hisup. "Monstrous National Allegory: The Making of Monstrous Otherness in Na Hong-jin's The Wailing." ''Journal of Film and Video'' 1, 72 (3-4) (January 2020): 90-101. doi: https://doi.org/10.5406/jfilmvideo.72.3-4.0090

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 ==='''Colonial Trauma'''===
-According to Luisa Hyojin Koo, “Japanese colonialism has had a lasting impact on Korean national identity because it focused on cultural assimilation, thereby repressing the ‘Korean’ spirit."  In response, in 1922 Koreans started producing feature films that collided with cultural rule under colonial Japan. This was attempted on Koreas part to salvage Korean heritage. After liberation, in Korean cinema, “...opposition to Japanese colonialism remained a defining force that played a key role in distinguishing a uniquely Korean sensibility." The Japanese colonizers were portrayed as the “other” in films to strengthen the divide between the two cultures. This can be seen in ''The Wailing'' where the Japanese man is the “other” resident that doesn’t fit in, causing speculation that he is indeed the criminal.
+According to Luisa Hyojin Koo, “Japanese colonialism has had a lasting impact on Korean national identity because it focused on cultural assimilation, thereby repressing the ‘Korean’ spirit."<ref>Koo, "Korean National Trauma" ''Dark Forces at Work,'' 56.</ref> In response, in 1922 Koreans started producing feature films that collided with cultural rule under colonial Japan. This was attempted on Koreas part to salvage Korean heritage. After liberation, in Korean cinema, “...opposition to Japanese colonialism remained a defining force that played a key role in distinguishing a uniquely Korean sensibility."<ref>Koo, "Korean National Trauma" ''Dark Forces at Work,'' 57.</ref> The Japanese colonizers were portrayed as the “other” in films to strengthen the divide between the two cultures. This can be seen in ''The Wailing'' where the Japanese man is the “other” resident that doesn’t fit in, causing speculation that he is indeed the criminal.
 It is important to note, the Japanese sentiment in ''The Wailing'' in no part has to do with the geographical location of ''Gokseong'', but solely on the concept of "other".

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 Korean Shamanism is one of the oldest religions in the peninsula. Although it is less popular today, many of the older generation still consult with mudang, or shamans, for blessing and protection. The younger generation today does consult with them, but they are looking for prospects in love, finances, and all things vain.
-There are both male and female shamans, but female shamans are in greater quantity. Female shamans are referred to as ''mudang'' 무당, and male shamans are referred to as ''paksu'' 박수. According to Jeong-sook Kim, “Mudangs were asked to handle all manners of calamity: appeasing malignant spirits, cursing sickness and curing the sick, comforting those who lost loved ones, reconciling broken families, forecasting the future, and supplicating the spirits for future successes.” In order to achieve these goals, shamans would perform a ceremony known as [[https://en.wikipedia.org/wiki/Gut_(ritual) ''gut'']] 굿, which is a ritual that changes based on the end goal. In the film The Wailing Il-gwang performed two rituals in order to release Hyo-jin of her spiritual possession.
+There are both male and female shamans, but female shamans are in greater quantity. Female shamans are referred to as ''mudang'' 무당, and male shamans are referred to as ''paksu'' 박수. According to Jeong-sook Kim, “Mudangs were asked to handle all manners of calamity: appeasing malignant spirits, cursing sickness and curing the sick, comforting those who lost loved ones, reconciling broken families, forecasting the future, and supplicating the spirits for future successes.”<ref>Kim, "Humanization and Divination" ''Asia Journal of Theology,'' 71.</ref> In order to achieve these goals, shamans would perform a ceremony known as [[https://en.wikipedia.org/wiki/Gut_(ritual) ''gut'']] 굿, which is a ritual that changes based on the end goal. In the film The Wailing Il-gwang performed two rituals in order to release Hyo-jin of her spiritual possession.
 There is one disagreeable aspect to mudang in ''The Wailing'' when it comes to referencing the shaman. Il-gwang is male, thus he should be referred to as ''paksu'' instead of ''mudang''.

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 ==='''Possession VS Zombie'''===
-According to Hisup Shin, author of “Monstrous National Allegory: The Making of Monstrous Otherness in Na Hong-jin’s The Wailing” the film differs from the popularized genre we see today. He states, “In contrast to the genre convention of mass contagion and apocalyptic narrative, the zombie sequence in the film from symptoms of infection/possession to zombification is a supernatural mystery that resonates with the spiritual or physical effects of horror. There is also no indication of establishing the social or symbolic meaning of zombification by linking it to any type of man-made errors.”<ref>Kim, "Humanization and Divination" ''Asia Journal of Theology,'' 92.</ref> The distinction Hisup Shin makes here is accurate, however, he continues to group The Wailing into the zombie genre. There is a distinct difference between zombies and those who are possessed, and the film should be categorized in the occult genre. To understand why, it is important to analyze the differences between a zombie and one who is possessed.
+According to Hisup Shin, author of “Monstrous National Allegory: The Making of Monstrous Otherness in Na Hong-jin’s The Wailing” the film differs from the popularized genre we see today. He states, “In contrast to the genre convention of mass contagion and apocalyptic narrative, the zombie sequence in the film from symptoms of infection/possession to zombification is a supernatural mystery that resonates with the spiritual or physical effects of horror. There is also no indication of establishing the social or symbolic meaning of zombification by linking it to any type of man-made errors.”<ref>Shin, "Monstrous National Allegory" ''Journal of Film and Video,'' 92.</ref> The distinction Hisup Shin makes here is accurate, however, he continues to group The Wailing into the zombie genre. There is a distinct difference between zombies and those who are possessed, and the film should be categorized in the occult genre. To understand why, it is important to analyze the differences between a zombie and one who is possessed.
 ===='''Zombie'''====
-The current trend in Zombie films is to challenge humanity in a time of distress and portray the state of current society. Hisup Shin states, “At the time when the relentless drive of neoliberalism whetted by ‘increasing volatility withing global capitalism’ continues to weaken the traditional barriers of security, the zombie trope captures the sum of all fears and anxieties dwarfing our capacity for reasoning and problem solving."<ref>Kim, "Humanization and Divination" ''Asia Journal of Theology,'' 91.</ref> Capitalism is also the factor in the method of the zombie virus outbreak. In the current genre, the outbreak or release of a contagion is not localized but will affect the world on a global scale. The spread of the zombie virus is through either a bite or exposure to the source, however, in ''The Wailing'' this was not the case. There is not virus at large and the affected are not always in that state, it comes and goes similar to spiritual possession. Therefore, the only reason that this film can be considered a zombie film is solely due to the animation of a corpse.
+The current trend in Zombie films is to challenge humanity in a time of distress and portray the state of current society. Hisup Shin states, “At the time when the relentless drive of neoliberalism whetted by ‘increasing volatility withing global capitalism’ continues to weaken the traditional barriers of security, the zombie trope captures the sum of all fears and anxieties dwarfing our capacity for reasoning and problem solving."<ref>Shin, "Monstrous National Allegory" ''Journal of Film and Video,'' 91.</ref> Capitalism is also the factor in the method of the zombie virus outbreak. In the current genre, the outbreak or release of a contagion is not localized but will affect the world on a global scale. The spread of the zombie virus is through either a bite or exposure to the source, however, in ''The Wailing'' this was not the case. There is not virus at large and the affected are not always in that state, it comes and goes similar to spiritual possession. Therefore, the only reason that this film can be considered a zombie film is solely due to the animation of a corpse.
 ===='''Possession'''====

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 ===='''Zombie'''====
-The current trend in Zombie films is to challenge humanity in a time of distress and portray the state of current society. Hisup Shin states, “At the time when the relentless drive of neoliberalism whetted by ‘increasing volatility withing global capitalism’ continues to weaken the traditional barriers of security, the zombie trope captures the sum of all fears and anxieties dwarfing our capacity for reasoning and problem solving."<ref>Kim, Jeong-sook, George Mathew. Humanization and Divination: The Theological Dimension of Salvation as Revealed in Korean Shamanism. ''Asia Journal of Theology'' 18, no. 1 (April 2004): 69-81. https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=12627284&site=ehost-live.</ref> Capitalism is also the factor in the method of the zombie virus outbreak. In the current genre, the outbreak or release of a contagion is not localized but will affect the world on a global scale. The spread of the zombie virus is through either a bite or exposure to the source, however, in ''The Wailing'' this was not the case. There is not virus at large and the affected are not always in that state, it comes and goes similar to spiritual possession. Therefore, the only reason that this film can be considered a zombie film is solely due to the animation of a corpse.
+The current trend in Zombie films is to challenge humanity in a time of distress and portray the state of current society. Hisup Shin states, “At the time when the relentless drive of neoliberalism whetted by ‘increasing volatility withing global capitalism’ continues to weaken the traditional barriers of security, the zombie trope captures the sum of all fears and anxieties dwarfing our capacity for reasoning and problem solving."<ref>Kim, "Humanization and Divination" ''Asia Journal of Theology,''91.</ref> Capitalism is also the factor in the method of the zombie virus outbreak. In the current genre, the outbreak or release of a contagion is not localized but will affect the world on a global scale. The spread of the zombie virus is through either a bite or exposure to the source, however, in ''The Wailing'' this was not the case. There is not virus at large and the affected are not always in that state, it comes and goes similar to spiritual possession. Therefore, the only reason that this film can be considered a zombie film is solely due to the animation of a corpse.
 ===='''Possession'''====

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 =='''References'''==
 {{reflist}}
 =='''External Links'''==