DRAF presents its 11th annual Evening of Performances, at s Art Deco music venue the O2 Forum Kentish Town, with an exciting programme of live works that range across performance art, spoken word, dance, comedy and music. The evening presents eight new commissions and a UK premiere by international artists responding to the theme of intimacy. Each artistic contribution brings forward a new reading and experience, charging the venue with different physical, sensual and intellectual approaches.
They are listed in the order of their release. Romance Papa Shin Sang-ok's Romance Papa begins with the artifice of introductions of each character. These introductions are a vestige of the radio play from which this story originated, but it does help this viewer from the future navigate between these characters from the past since the times required that actors and actresses of similar ages play characters much younger than themselves.
Still, in some ways such introductions are unnecessary since fashion signifies their ages. Sailor outfits designate the youngest. A poodle skirt marks the college-aged woman. Once married, the oldest daughter sheds her western dress, and, at the end of each business day, her new husband his western suit, for a hanbok.
There is much to be said about fashion in South Korean films. Read the discussion of hanbok fashion fusions in the 's by Princeton University professor Steven Chung or watch the recent documentary on fashion designer Nora Noh for examples.
Romance Papa is another object of study on how necessary sartorial choices can be to character development. Yet what follows as plot in Romance Papa is really a series of vignettes, aligning this film more with the episodic nature of modern-day TV serials than a medium demanding a status as a single unit.
It is as if Romance Papa is an early precursor of the binge-watching experience enabled by the distribution system of the internet. In the single feature film of Romance Papa, we are in a sense successively viewing several episodes of the radio show in one evening.
As the aforementioned Steven Chung notes in his book reconsidering our understanding of director Shin, Split Screen Korea: Shin Sang-ok and Postwar Cinema University of Minnesota Press,"Shin consistently capitalized on the creativity of radio dramas and locked up many of the scripts during their broadcast.
A modern day equivalent to this capitalization on cross-media creativity was noted in a talk given at the Society for Cinema and Media Studies conference in Seattle by University of Ulsan professor Hwang Yun-mi.
An aspect of her talk was that the costume drama film genre feeds off the visual signifiers of the same genre of television serials in their costumes, set designs, and even culinary displays.
Although in this case the rights of TV dramas are not being secured like the radio dramas of the past, the TV dramas are providing some paratextual labor in encouraging audiences to have production expectations of the film dramas from what they gather from the TV dramas.
The TV costume dramas "genrify" the film costume dramas just as Shin used a radio drama to "genrify" the film Romance Papa. In this way, films like Romance Papa further demonstrate the past foundation of present South Korean media tactics.
The theme that runs through the synced vignettes is of the father who is a hopeless romantic, a sentimental softie who is the kind of father who wants to frame his youngest daughter's first love letter.
He is so concerned about his fellow man, instead of pummeling a burglar, he wants to provide alms of seaweed for the thief who just tried to pillage his home. The only time he doesn't romanticize a daily experience is when his oldest daughter is romantically involved with a young man.
Our papa has contempt for his future son-in-law's profession, meteorology. Like other sciences, meteorology is based on predicting the probability of events, which means there is always a chance of events diverging on rare occasions from the trend, but the statistical anomaly doesn't necessarily disprove the theory.
Our papa, however, hyper-focuses on the predictions that are 'wrong' without seeing the wider data-compiling that leads the direction of the predictions.
It appears this papa could be a precursor of climate change deniers. Except this papa is adorable rather than dangerous. Romance Papa launched Shin Sang-ok's Shin Films production outfit and "fixed the studio's reputation for high quality filmmaking with mass appeal" Chung, p The film's popularity is partly due to the casting of Kim Seung-ho in the role of the benevolent patriarch.
Kim's star status trailed him from film to film as the type of father everyone could love. He could occasionally embarrass his daughters, such as when he encourages his college-aged daughter to wear his pants for a hiking trip with her friends, or he could be gullible and believe the deliberate 'mom-said' lies his three youngest children spread at his expense, but he isn't a failure in any way, at least not in this film.
He is a simple spirit that hopes for the best in everyone in every circumstance, even when there is little evidence for such hope. This papa will give credence to the the statistical improbabilities in life if that lesser is on the side of the least of us.
Directed by Shin Sang-ok.Link to College of Arts and Letters Programs Anthropology. Undergraduate Courses/link to graduate courses Cultural Difference in a Globalized Society (ANT . All the latest news, reviews, pictures and video on culture, the arts and entertainment.
Cody Choi, visual artist and cultural theorist was born in Seoul in He attended Korea University Sociology major, Korea and Art Center College of Design, Pasadena, California, USA. Goodman Gallery Johannesburg 4 June – 6 August In , Goodman Gallery celebrates its 50th anniversary – five decades of forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent.
Langa's Art Analysis - In Chapter 3 of her book Langa looks at s prints of labor-related images as part of her larger project of offering a more nuanced reading of s prints as active social documents on which the multiple and contradictory forces shaping America at the time found a visual outlet.
F rom a commercial standpoint, the s stand out as an era of unprecedented strength. With television still in its infancy, moviegoing formed the primary means of entertainment for young and old alike, with the average Korean watching more .