ScholarWorks@Dongguk University: Jung, Soo wan

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Jung, Soo wan (정수완)

College of the Arts (Department of Film and Digital Media)

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Tel 02-2260-8605
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이마무라 쇼헤이:5||Postwar Japan:3||Shohei Imamura:3||전후 일본:3||재일조선인:3||Zainichi:3||Imamura Shohei:2||나루세 미키오:2||오즈 야스지로:2||Ozu Yasujiro:2||Naruse Mikio:2||<팔도강산>:1||<한공주>:1||1970년대한국영화:1||Alfonso Cuaron:1||Anticommunism:1||Ascetic:1||Assassination:1||Automaton Conformity:1||Birdcage Motif:1||Byungtae and Youngja:1||Céline Sciamma:1||Close  up:1||Compressed modernization:1||Correspondent in Tokyo:1||CounterCulture:1||Cultural Industry:1||Development Mobilization System:1||Documentary:1||Drifting Clouds:1||Erich Fromm:1||Family Film:1||Family as Nation:1||Father:1||Female solidarity:1||Film Language:1||Freezeframe:1||Gaichi:1||Gazing Subject:1||Gender:1||Gender biased perception:1||Gravity:1||Ha Giljong:1||Han Gongju:1||Hayashi Fumiko:1||HighGrowth Period of Japan:1||Home Drama:1||Ie Family System:1||Image of Film:1||Images of Emancipation:1||Imagined Individuality:1||Interpretation of History.:1||Japanese Film:1||Japanism(Japanese style):1||Jukigeki:1||Kim Kiyoung:1||Kimin(abandoned people):1||Koreeda Hirokazu:1||Korean Cinema in:1||Korean Family Comedy Film:1||Korean Lesbian Cinema:1||Korean Youth Culture:1||Korean movies:1||Lee Jangho:1||Lesbian Representation:1||Maid Trilogies:1||Merchandise Esthetics:1||Minjoong:1||Minjoong Cinema:1||Minjoong Cultural Movement:1||Modern Society:1||Modern Time:1||Nagisa Oshima:1||Naichi:1||Narration:1||Nationalism:1||Outsiders:1||Paldogangsan:1||Post Colonial discourse:1||Postwar Democracy:1||Postwar Japanese:1||Representation:1||Representation the other:1||SF movie:1||SF 영화:1||Second　Brother:1||Seoul:1||Sexual violence:1||Shosimineiga:1||Subaltern:1||The Age of Shadows:1||The Cold War and Asia:1||The Forgotten Imperial Army:1||The Handmaiden:1||The Insect Woman:1||The March Of Fools:1||The Period of The Yushin Regime:1||Tokyo:1||Transnational:1||Vagabond's Song:1||Verticality and Horizontality:1||Visuality:1||War and Japanese Film:1||Women:1||Wondering:1||Yangok(westernstyle house):1||attitudes of criticism:1||cinematic view:1||feminism:1||feminist cinema:1||film critique:1||film semiotics:1||formalism:1||gender technology:1||performativity:1||queer cinema:1||queer feminism:1||queer gaze:1||queer temporality:1||realism:1||representation:1||sungil Jung:1||가족=국가=민족:1||가족영화:1||가족코미디:1||개발동원체제:1||고도성장기:1||고레에다 히로카즈:1||관점의 역사성:1||그래비티:1||근대 사회:1||근대적 시간:1||기민(棄民):1||김기영:1||내레이션:1||내셔널리즘:1||내지:1||냉전과 아시아:1||다큐멘터리:1||동경/서울:1||레즈비언 영화:1||레즈비언 재현:1||문화산업:1||민중:1||민중문화예술운동:1||민중영화:1||밀정:1||바보들의 행진:1||반공:1||방랑:1||방랑기:1||병태와 영자:1||부운:1||사실주의:1||상상된 개인:1||상품미학:1||새장:1||성폭력:1||셀린 시아마:1||소시민영화:1||수직과 수평:1||수행성:1||시각성:1||시네 페미니즘:1||시선 주체:1||식민/후식민:1||식민지:1||아가씨:1||아버지:1||알폰소 쿠아론:1||암살:1||압축적 근대화:1||에리히 프롬:1||여성:1||여성 연대:1||여성주의:1||역사해석:1||영화 언어:1||영화 이미지:1||영화기호학:1||영화비평:1||영화적 관점:1||오시마 나기사:1||왜색(倭色):1||외부인:1||외지:1||유신체제기:1||이에제도:1||이장호:1||이층 양옥집:1||일본영화:1||자동인형적 순응:1||재현:1||저항문화:1||전쟁과 일본영화:1||전후 민주주의:1||전후일본:1||정성일:1||젠더:1||젠더 테크놀로지:1||중희극(重喜劇):1||청년문화:1||초국가:1||퀴어 영화:1||퀴어 응시:1||퀴어 페미니즘:1||퀴어시간성:1||클로즈업:1||타자 재현:1||편향적 젠더 인식:1||표상:1||프리즈 프레임:1||하길종:1||하녀연작:1||하야시 후미코:1||하위주체(subaltern):1||해방 이미지:1||형식주의:1||<Endless Desire>:1||홈드라마:1||<궁녀>:1||<금욕>:1||<끝없는 욕망>:1||<니안짱>:1||<동경특파원>:1||<비전>:1||<악령>:1||<오아시스>:1||<일본곤충기>:1||<잊혀진 황군>:1||

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