10 Jan 2011

kaigou: this is what I do, darling (3 get down from there)
50 Things You Learn from K-Dramas - reposted by tashiichaan from a d-addicts thread

Archetype and Stereotype Writing Prompt by Christina Chang, Jaehong Park, Nina Lim
As Korean audiences ourselves, we realized that most Korean dramas have certain stereotypical ideas and values in their basic storylines. It is apparent that most of Korean dramas implement stereotypical formulas because those formulas usually guarantee success, as certain things are more likely to attract audiences proven by ratings of different dramas and stereotypes that were shown before. Although Korean drama industry has remains very conservative and reserved compared to many Western, American, or even Japanese dramas, we could cleary see that the Korean drama industry did make quite a bit of progress, becoming much more expressive. While many of the ideas and genres for a certain fixed audiences will continue to prevail in Korean dramas, with the sign of progress that has been shown, it is fair to expect innovative, more expressive, and exciting themes to be introduced in Korean dramas for a wider range of audiences for the future.

Why Everybody Should Watch Korean Dramas (Even If You Can't Speak Korean and Hate Kim Chi) by Homegrown Social Critique
The joy of the Korean Drama lies in the lingering look, the hand that almost touches, but never does, and the enjoyment of an experience through the repetition of flashbacks. Wallace Stevens once wrote, "I do not know which to prefer, /The beauty of inflections/Or the beauty of innuendoes." In Korean Drama, it is definitely the latter.

Shafted, shafted, shafted: A Story of Female Second Leads by sevenses
This is just something I’ve noticed, but the amount of hate towards female characters almost always beats the hate for male ones. And while on one hand it’s seriously not cool, on the other hand I think the tired old tropes women keep being thrust into have something to do with it.
kaigou: this is what I do, darling (Default)
Saving this for later use, rather than keep the tabs open for any longer:

Knowledge is the fact or condition of knowing something with familiarity and is often gained through experience or association. In other words, it's what you already know.

Intelligence is the ability to learn or understand or deal with new or trying situations. In other words, it's the ability to successfully apply your knowledge.
kaigou: this is what I do, darling (4 no sacrifice)
I've been sitting on this rant for awhile, but what-the-hell, I'm going to post. If you like to play the oppression olympics, don't read this. If you react favorably to the following statement: "immigrants have it the absolute worst in the US," then you probably won't want to read this, but maybe you should anyway. Just consider it walking the length of this post in my shoes, with citations.

Clover, Carol. Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton University Press, Princeton, New Jersey, 1992.

One of Clover's chapters, Getting Even, discusses a concept she calls "urbanoia". She defines it loosely as the (horrorific/horror) archetype of the civilized city-dweller's feelings against/about the uncivilized (savage, primitive) country-dweller.
An enormous proportion of horror takes as its starting point the visit or move of (sub)urban people to the country. (The eternally popular haunted house story is typically set, if not in the country, then at the edge of town, and summer camps set in deep forests are a favorite setting of slasher films. ...) ...That situation, of course, rests squarely on what may be a universal archetype [in which the non-city] is a place where the rules of civilization do not obtain. People from the city are people like us. People from the country (as I shall hereafter refer to those people horror construes as the threatening rural Other) are people not like us.

She gives several examples of just how the rural Other is different: adult males with no immediate family connections, or extreme patriarchal rulership (with the occasional extreme matriarchal rulership), and abnormalities like "psychosexually deformed children", with "degenerate specimens [as] the material expression of family wrongness..."

She goes on to summarize the basic appearance of the rural Other, in terms of the standard elements of the genre convention:
...country people live beyond the reaches of social law. They do not observe the civilized rules of hygiene or personal habit. If city men are either clean-shaven or wear stylish beards... country men sport stubble. Likewise teeth; the country is a world beyond denistry. The typical country rapist is a toothless or rotten-toothed single man with a four-day growth. ... As with hygiene, so with manners. Country people snort when they breathe, snore when they sleep, talk with mouths full, drool when they eat. The hill people of The Hills Have Eyes do not even know how to use knives and forks. Country people, in short, are surly, dirty (their fingernails in particular are ragged and grimy), and slow ("This ain't the big city, you know, things take time," a local handyman drawls to our city heroine in The Nesting, and the city invaders of Pumpkinhead refer to the locals as "vegetables"). What is threatening about these little uncivilities is the larger uncivility of which they are surface symptoms. In horror, the man who does not take care of his teeth is obviously a man who can, and by the end of the movie will, plunder, rape, murder, beat his wife and children, kill within his kin, commit incest, and/or eat human flesh... No wonder, given their marginal humanity, country people are often nameless or known by cognomina only.

CP brought this book to my attention after I spent one dinner ranting -- and I don't mean the usual annoyed complaint-airing, I mean truly angry ranting... about a map. There are weeks where I should know better than to follow links, but I was curious, and that right there should've been a sign, but still: a map that assigns movies to states based on "one movie set there that seemed reasonably typical". (h/t: [personal profile] wordweaverlynn)

Some of them are relatively obvious: Fear and Loathing in Las Vegas, Raising Arizona. Some of them require you be aware the filmmakers would be State Cultural Treasures (if there were such a thing): Maryland has Jon Waters (Pink Flamingos), Rhode Island has the Farrelly Brothers (There's Something About Mary), New Jersey has Kevin Smith (Clerks). Others have region as distinctive aspects of the film, like The Wizard of Oz for Kansas, Dances with Wolves for South Dakota, and A River Runs Through It (in which Montana should've gotten top billing, if you ask me, for providing such backdrops). A few make no sense to me at all, like Glory for South Carolina, a film that's about the 54th Massachusetts Volunteer Infantry. So a big battle takes place outside Charleston... it strikes me as odd that a film "reasonably typical" about South Carolina would star, well, yankees. But anyway.

I didn't expect that many surprises, and you probably won't see too many yourself, if you go look at the map. While you're there, take a look at the state that's down near the bottom-right, in orange. Go ahead, I'll wait, just making conversation over here while you go see. )

NOTE: if you are considering a comment in which: you say that you, personally, have Southern friends and they make jokes like this all the time, I won't reply because (a) this post is NOT ABOUT YOU and (b) you're blurring ingroup/outgroup humor and maybe you need to think about that more. If you raise a defense via attacking on the topics of slavery, slave-ownership, redneck-analogies, or how Others have it worse, I will DELETE your comment as oppression olympics and/or derailing.