Film is a kind of media, which highlights the cultural connotation and is also a kind of discourse. With the continuous development of human science and technology, the development of movies has a very important impact on a country's politics, economy, culture and other aspects. The following is what I collected for you. Welcome to read the reference!

1 On the Feminist Color of Korean Films from the Perspective of Daoya

1. Korean dramas with rampant crime movies

Korean drama films are famous for reflecting social problems profoundly, sharply and sensitively. Well-known Korean drama films include The Furnace, The Miracle of Cell No.7, Su Yuan, memories of murder and so on. Most of the social problems reflected are power and violence, children and sexual assault. And most of them are based on real cases, which deeply expose the drawbacks of the system, the abuse of power and the suffering of the people at the bottom. Korean crime movies are violent and gloomy.

In traditional Korean crime movies, the power is usually held by men, and the victims are usually women, or children, mentally retarded people and so on. In traditional Korean evil movies, women mostly exist as the weak and victims.

Secondly, The Knife Xi Ya is full of feminist color.

In traditional Korean film and television works, women mostly appear as housewives or professional women. [1] In Korean film and television works, we can see the epitome of the patriarchal society. In the works that reflect the realistic theme, such as The Furnace and The Defender, men basically hold the power, while women are only accessories under the privilege of men or representatives of vulnerable groups.

In the movie "Knife Xi Tooth", Li Yingnan, as a woman, assumed such a powerful role as police chief, and her conception and design were full of feminism.

In Daoya's English poster, Jin Shirong and Bae Doo Na embrace each other. The girl leaned in the woman's arms and stared at the camera with injured eyes. The woman turned around and looked embarrassed.

It was this hug that exposed the wounds of Tao, touched the director's heart and left controllable evidence as the only "physical contact". There is a close relationship between the abused and the good doers, and the rescue itself is involved in ambiguous behavior, but the director of the voyeuristic incident is peeped. This makes this film different from violent and sexual assault films such as Melting Pot, Memories of Murder and Miracle of Cell 7. It is not a simple painful accusation of binary opposition, nor is it an appeal for the reorganization of patriarchal social rules.

Different from previous films about women, Knife Xi Ya reflects the subtle relationship between women and power. Female directors, who was in power, did not escape the trick of fate because he was in power. On the contrary, Tao, a woman who was devastated outside her power, controlled the development of the situation in her own hands with cunning lies. The relationship between women and power embodied in this is worth pondering.

Third, the prejudice of adults and the evil of children.

In traditional Korean dramas, children are usually simple, weak and kind. For example, Shun Ying in Barbie, Yi Sheng in cell 7 in Miracle, and Jin Yandou and Chen Youli, the victims in The Furnace.

Daoya subverts the image of children in traditional Korean dramas, and the image of Daoya in the films is both good and evil. Tao, who framed her stepfather, lied to the police that female directors had touched her, and found out that his lies hurt Tao, who was locked up, and let us see the evil behind the weak child. This evil can't be said to be born, but it is related to the environment in which she grew up. Tao grew up in a vulgar and violent family environment, and had a strong tendency of self-protection and violence since childhood. When the female director first entered the village, Tao saw her and ran; When bullied by classmates, Tao Xi just bowed his head and didn't talk; When female directors approached her, we could see that Dorsey had a strong sense of self-protection and a strong sense of insecurity made Dorsey disguise herself. When the director's girlfriend came to see her, Tao threw something and lost her temper. This scene is very violent, unlike the traditional image of a simple and weak child, which reflects the violent tendency in Tao's bones when he was a child.

But in the prejudice of adults, the love of lesbians for a girl is impure; There is no lie in the child's testimony. The prejudice of adults and the evil of children are the profound differences between this film and traditional Korean crime films.

Fourth, lesbians and pity.

Homosexuals, as "the back of human beings", are an extremely important supplementary role expressed by human beings themselves. The change of gay screen image not only shows the change of gay situation in the mainstream cultural system, but also reflects the overall situation of mankind. The screen evolution process of homosexual images is precisely the process of gradual improvement and perfection of cross-cultural communication between this marginal group and the mainstream group.

A study shows that the number of reports on homosexuality in Time Magazine and Newsweek in the United States has increased from 2 in1940s, 25 in1960s and 95 in1980s to15/in 1990s. At the same time, the study also found that the description of homosexuals in the media is biased or defamatory, and most of them are portrayed in negative images. [3]

The marriage of gay men has attracted more and more attention in recent years, but there is little research on the marital status of lesbians. This also reflects the low status of women relative to men to some extent. As Sarah Caron said: People of different genders, races and nationalities have different experiences and perspectives and need to be recognized by society. In this continuous struggle, it is obvious that lesbians are relatively absent, and the existence of lesbians is not only marginalized, but often denied at all. Quoted from Sun Zhongxin and Zhang Lili, 2007: 386.

When the topic of homosexuality has become popular in Europe and America, it is still a serious ethical issue in South Korea. Bae Doo Na plays a lesbian policeman who is sent to the local area because of her homosexuality. She meets a little girl who likes her-Dao. Out of pity, the policewoman helped Dorsey escape from the domestic violence and get rid of the painful life. But the secular prejudice holds that for a lesbian, this concern has gone beyond pity and is an unacceptable abnormal love.

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