{"product_id":"105723","title":"Women in Film ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYHQorjpfR4OSmzDkLCYK1BW1POZH.png?v=1765123847\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Women in Film \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/91791153\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ctable\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd\u003e\n\u003cdiv\u003e\u003cdl\u003e\n\u003cdt\u003e A word from MD\u003c\/dt\u003e\n\u003cdd\u003e  \u003cdiv\u003eA collection of interviews with 20 female filmmakers who have been active in the film industry since the 1990s.\u003cbr\u003e We aim to create a shared history through stories of change and challenges, achievements and frustrations, solidarity and cooperation experienced in each of our respective fields over the past 30 years.\u003cbr\u003e This is the story of women who have struggled as professionals, workers, artists, and everyday people.\u003cbr\u003e - Son Min-gyu, Social and Political MD\u003c\/div\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e The Women in Film Korea, founded to advocate for the rights of female filmmakers and create an environment where more women can make better films, interviewed 20 leading female filmmakers in various fields who have been active in the film industry since the 1990s to mark its 20th anniversary.\u003cbr\u003e We met creators from all areas related to film, from production, directing, acting, cinematography, lighting, art, sound, editing, documentary, and marketing, as well as film festival programming and journalism, and included their work, life, and thoughts on film.\u003cbr\u003e\u003cbr\u003e  \u003cbr\u003eUnlike the existing film history written by (male) researchers focusing on the artistic world of (male) film directors, this book, written by female filmmakers who directly asked and answered questions while thoroughly examining every corner of the film scene, aims to be a 'history for all of us.'\u003cbr\u003e The stories of change and challenges, achievements and frustrations, solidarity and cooperation they have experienced in their respective fields over the past 30 years are not only a lineage that will be clearly etched in the history of Korean cinema, but also a record of the struggles of working women as experts and laborers in their fields, as artists and everyday people.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003c\/div\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/tbody\u003e\u003c\/table\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Entering 5\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePart 1: Overcoming the Wall of Alienation to Dazzling Achievements - The 1990s\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e I am a woman, a filmmaker - Shim Jae-myung\u003cbr\u003e Recording the Most Shining Moment in Korean Cinema - Ahn Jung-sook\u003cbr\u003e The most flexible and longest-working creator - Lim Soon-rye \u003cbr\u003ePark Gok-ji, a 30-year veteran editor who remembers the value of a single cut in the film era.\u003cbr\u003e All the Beginnings of Korean Film Marketing - Chae Yoon-hee\u003cbr\u003e Jeon Do-yeon, an actress who always seeks out better stories\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePart 2: Wider and Deeper: The Age of Experts - The 2000s\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e The path of life and the path of film are not different - Moon So-ri\u003cbr\u003e A solid producer who knows both fall and rise - Kang Hye-jeong\u003cbr\u003e Ryu Seong-hee, creative production designer in charge of the film's visual elements\u003cbr\u003e Better Work Environments Make Better Sound - Eun-ah Choi\u003cbr\u003e A person who wants to create and record all the light in the movie - Nam Jin-ah\u003cbr\u003e Shin Min-kyung, a creative editor who navigates genres and employs unconventional techniques\u003cbr\u003e Marketing starts from the core: finding the prettiest face - Park Hye-kyung\u003cbr\u003e Imagining the Future of Film Festivals in the Age of Netflix and YouTube - Kim Young-deok\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePart 3: A Strong Self-Center and a New Sensibility - After the 2010s\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e I Want to Tell My Story, Even if It's Small - Jeong-ju Jeong  \u003cbr\u003eThe Camera Doesn't Discriminate Against Gender - Eom Hye-jeong\u003cbr\u003e Kim Il-ran, a recorder of the complexity of events and the multifaceted nature of humanity\u003cbr\u003e I want to make films that children choose to see on their own - Yoon Ga-eun\u003cbr\u003e My dream is to become a master of cute, fun, and independent female characters - Jeon Go-woon\u003cbr\u003e The actor who never lets go of the question, \"Why not?\" - Chun Woo-hee\u003cbr\u003e\u003cbr\u003e Women in Film Timeline\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate3119\/MidCate006\/311857144.jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e The Renaissance of Korean Cinema: The Energy of Massive Change\u003cbr\u003e\u003cbr\u003e Many things happened at once, such as film movement groups like Jangsan Gotmae taking the lead in fighting to abolish the censorship system, filmmakers in Chungmuro ​​coming together to protest against the direct distribution of American films, and ultimately converting the Korean Film Council into the Korean Film Council.\u003cbr\u003e The energy of Korean films was truly incredible. \u003cbr\u003eI think this story, in which a democracy movement took place on one side of Korean society and filmmakers fiercely fought against the censorship system for creative freedom and fought to create policies for the development of Korean cinema, is a truly remarkable drama in itself.\u003cbr\u003e Watching and recording it is what I did as a film journalist.\u003cbr\u003e\u003cbr\u003e - Ahn Jeong-suk (film reporter)\u003cbr\u003e --- p.37\u003cbr\u003e\u003cbr\u003e Conditions of alienation and discrimination breed innovation.\u003cbr\u003e\u003cbr\u003e The fact that the editor called Avid was introduced to Korea for the first time.\u003cbr\u003e Since no one had ever done digital editing before, everyone thought it was an adventure, but Avid approached me first.\u003cbr\u003e I won't take any money, so give it a try.\u003cbr\u003e It was a system with a machine called Avid and a program and an operator.\u003cbr\u003e We had nothing to lose and had to save money, so we took a bold shot. \u003cbr\u003eThat's how \"Three Friends\" became the first film in our country to be digitally edited.\u003cbr\u003e I was trying to save money with a producer's mindset, and I had no reason to reject new technology.\u003cbr\u003e - Im Soon-rye (film director)\u003cbr\u003e --- p.62\u003cbr\u003e\u003cbr\u003e All the firsts in Korean film marketing\u003cbr\u003e\u003cbr\u003e I put a lot of thought into how I could use a differentiating strategy to make it known that \"Shiri\" was a masterpiece.\u003cbr\u003e While talking to the production company, I found out that the actors were learning action skills, such as how to shoot guns, from action director Jeong Du-hong.\u003cbr\u003e There was an action studio inside Boramae Park, and during the production presentation there, the actors performed gunfights and martial arts demonstrations.\u003cbr\u003e … … It became a hot topic.\u003cbr\u003e Because I've never done anything like that.\u003cbr\u003e … … It was the first time that “Shiri” had a preview screening in a regular theater.\u003cbr\u003e There were so many people who wanted to see it that we held a press preview at Synex in Dongbang Plaza. \u003cbr\u003eBefore, it was customary to do it only in small test rooms.\u003cbr\u003e Since then, press previews have been held in several theaters and the cast has been giving stage greetings, which has become a promotional tool.\u003cbr\u003e\u003cbr\u003e - Chae Yun-hee (marketer)\u003cbr\u003e --- p.99~100\u003cbr\u003e\u003cbr\u003e The Impact of the Digital Age on Actors' Performances\u003cbr\u003e\u003cbr\u003e When shooting on film, we rehearse a lot to use less film, and everyone concentrates to reduce mistakes.\u003cbr\u003e I think the process of focusing on the moment, thinking about it, and talking about it has decreased compared to before.\u003cbr\u003e By drawing the overall picture in your head and concentrating in the moment, you can raise each god as if you were raising a child… … .\u003cbr\u003e I don't know what this child will become, but if I had raised him with all my love at every moment, things would have become easier now. \u003cbr\u003eSince we could edit on-site, I found it very strange to be in front of the on-site editing monitor and think, \"What happened? What cuts do we need? What else should we try?\"\u003cbr\u003e But as time goes by, I think I would feel very anxious if there were no more on-site editing.\u003cbr\u003e I got used to it before I knew it.\u003cbr\u003e Looking back, we didn't have the convenience we have now, but the filmmaking process and set back then were really great.\u003cbr\u003e\u003cbr\u003e - Jeon Do-yeon (actress)\u003cbr\u003e --- p.114\u003cbr\u003e\u003cbr\u003e Concerns and Will as a Female Actress\u003cbr\u003e\u003cbr\u003e I'm always thinking about how female characters are portrayed in Korean films today and what I think female characters should be like.\u003cbr\u003e I believe that all female characters can be independent, and that all films should have a high gender equality index. \u003cbr\u003eIt's difficult to achieve this goal perfectly when dealing with multiple lives in a story, but it's very important to me to think about how these things fit into the film's context in this era.\u003cbr\u003e - Moon So-ri (actress, director)\u003cbr\u003e --- p.141\u003cbr\u003e\u003cbr\u003e Bong Joon-ho's films always present new challenges.\u003cbr\u003e\u003cbr\u003e I was really tearing my hair out over the spoiler.\u003cbr\u003e Because I even worried about whether I could reveal that Jessica was going to that house as a private tutor.\u003cbr\u003e So it was a pretty interesting movie.\u003cbr\u003e I had to show that it was a strange movie that showed the bare minimum but had a hook.\u003cbr\u003e Director Bong Joon-ho and Director Kim Jee-woon's films are always fun to work on because they always present new challenges.\u003cbr\u003e These two people never make the same movie.\u003cbr\u003e 'From now on, it's a new mission, a new genre.\u003cbr\u003e There isn't even a genre.\u003cbr\u003e It's something like 'I can't define it'.\u003cbr\u003e Marketers also consider making-of interviews important. \u003cbr\u003eA press release is supposed to cover up what needs to be covered up while conveying as much of the essence as possible. In such cases, it is really important to listen to the thoughts of the actors, director, and staff.\u003cbr\u003e The press release for “Parasite” was written based on that.\u003cbr\u003e\u003cbr\u003e - Park Hye-kyung (marketer)\u003cbr\u003e --- p.250~251\u003cbr\u003e\u003cbr\u003e Feminism is about giving voice to excluded voices.\u003cbr\u003e\u003cbr\u003e I think that was the training I received through the women's movement.\u003cbr\u003e What I mean is, I've learned that the feminist movement is always about asking, \"If I agree with this person's argument, are there any other people who are excluded?\"\u003cbr\u003e The moment you focus on Aunt Yanghee, on the other hand, you notice immigrant women.\u003cbr\u003e … … For example, something like this happened.\u003cbr\u003e After the interview, I said goodbye to my aunt who was leaving for work, “Auntie, I hope your business goes well today.”\u003cbr\u003e But then I was momentarily flustered. \u003cbr\u003e\"Huh? You want business to go well? What does it mean to want the prostitution business to go well?\" The contradiction in that greeting, which might be easy for someone else, hit me hard, and I thought to myself, \"If business is going well for my aunt, immigrant women have to go to second rounds. So what happens then?\"\u003cbr\u003e Regardless of how much I like my aunt, the fact that she serves the structure of prostitution and the conflict between her and the migrant women continue to be glaring.\u003cbr\u003e I think maybe that's the tone of the movie.\u003cbr\u003e\u003cbr\u003e - Kim Il-ran (documentary director)\u003cbr\u003e --- p.325~326\u003cbr\u003e\u003cbr\u003e The source of naturalness is collaboration with children.\u003cbr\u003e\u003cbr\u003e I think we can work together because I don't have the concept of directing people to act as a director.\u003cbr\u003e Of course, I'm in charge of balancing the structural flow of the story, but I feel like I'm working with the kids. \u003cbr\u003eI keep thinking about 'what is the life of a movie with children?'\u003cbr\u003e In fact, we are talking about a story that everyone knows, so we need to find a reason to watch it as a movie.\u003cbr\u003e Finding truly authentic moments in film? … … I think we need to act in a way that children can do.\u003cbr\u003e That's not something I can inject and get out of it.\u003cbr\u003e In the most natural environment possible, children need to act in a way that they can believe in.\u003cbr\u003e Memorizing lines and speaking them is usually not effective.\u003cbr\u003e Because the lines are mine.\u003cbr\u003e Sometimes, as we repeatedly practice improvisation and create scenes in the children's language, we revise the scenario.\u003cbr\u003e … … So, in our movies, rather than playing a certain character, there are many cases where the child himself is revealed.\u003cbr\u003e\u003cbr\u003e - Yoon Ga-eun (director)\u003c\/div\u003e\n\u003cdiv\u003e --- p.349\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\n\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e  \u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cb\u003eWe write our own history.\u003cbr\u003e We have a shining lineage we'd be happy to stand behind.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e For the first 30 years since the history of Korean cinema began in earnest in the 1950s, it was difficult to find women on the film set, except for actors.\u003cbr\u003e After the first 30 years, when only five directors and a few dozen staff members left their mark, the second 30 years since the 1990s have seen countless women appear on the film scene.\u003cbr\u003e Following in the footsteps of Im Soon-rye, who debuted as the sixth female director in 1994, female directors, as well as female creators active in all areas of film, including production, cinematography, lighting, art direction, sound, editing, and marketing, have created glorious moments in Korean cinema together. \u003cbr\u003eWhile the spotlight of the media often falls on directors and actors who have won awards at prestigious film festivals around the world, behind the scenes, countless talented staff members participate, many of whom are women.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e For example, the planner of “Connect” and “Joint Security Area JSA,” which opened a new era in Korean cinema, was Shim Jae-myung, the editor of “Shiri” was Park Gok-ji, and the marketer was Chae Yoon-hee.\u003cbr\u003e If it weren't for art director Ryu Sung-hee, the films of Ryu Seung-wan, Bong Joon-ho, Park Chan-wook, Choi Dong-hoon, and Kim Jee-woon would have been different.\u003cbr\u003e The fast and rhythmic scene transitions of the 10 million-viewer films “The Thieves” and “Assassination” came from the hands of editor Shin Min-kyung, and the person who established the film festival programming manual while going back and forth between the Busan International Film Festival and the Bucheon International Fantastic Film Festival was programmer Kim Young-deok. \u003cbr\u003eBold producer Kang Hye-jung has produced a string of blockbuster films, including “Berlin,” “Veteran,” and “Exit,” while Bong Joon-ho’s “Mother,” “Snowpiercer,” and “Parasite” have become a social sensation thanks to the collaboration with marketer Park Hye-kyung.\u003cbr\u003e Many of the independent films and documentaries that have recently received attention, such as “Us,” “A Little Princess,” and “Accomplices,” were produced by female producers or directors.\u003cbr\u003e Even in fields such as photography, lighting, and sound, which were traditionally considered male domains, women are no longer rare.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Despite their consistent activity over the past 30 years, their existence has often been regarded as a special or inconvenient exception. \u003cbr\u003eIn a reality where the idea that film is an art form that embodies the director's worldview is firmly established, the number of female directors still stands at only around 10 percent, and women who hold cameras, light equipment, or handle sound must risk having their skills questioned or losing opportunities.\u003cbr\u003e Film criticism or film history narratives that focus on the director as an 'author' naturally tend to be male-dominated.\u003cbr\u003e Therefore, the task of describing the activities of female filmmakers as “history” rather than “exception” must be undertaken by female filmmakers themselves.\u003cbr\u003e The Women in Film Association, which had already compiled the names and activities of all female filmmakers active from the 1950s to the 1980s through the 『Dictionary of Women in Film』 in 2001, has described its second 30-year history since the 1990s through this book. \u003cbr\u003eIn doing so, it traces the lineage of 'women in film' from Lee Hae-yoon and Lee Kyung-ja, who started working in the film industry in the 1950s and organized the first female filmmakers' group, 'Youngheehoe', in the 1980s, to today in 2020.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e In the first 30 years, when the mere fact that women were \"surviving\" in the film industry was important, we chose the format of a dictionary listing all names. However, in this book, which covers the second 30 years, we selected people who could show the changes in the film industry according to the flow of time and took the approach of hearing their voices directly. \u003cbr\u003eThe book is divided into three parts: the 1990s, when a new style of film and a welcoming audience emerged amid the influx of corporate capital into the film industry, the abolition of censorship, and the collapse of the traditional apprenticeship system; the 2000s, when world-class experts across all film fields emerged, raising both the quality and quantity of Korean films; and the 2010s and beyond, when creators with a new sensibility began to create unique stories with their own sense of issues. Included are interviews with 20 female filmmakers who represent each era.\u003cbr\u003e This book, which contains the specific achievements of female filmmakers not as \"great people\" who survived harsh environments or as \"victims\" who were robbed of opportunities, but as pivotal figures who led the development of Korean cinema, will proudly prove that history can now be written solely through the achievements of women.\u003cbr\u003e \u003cbr\u003e\u003cb\u003eThere is no longer a field in the film industry where women cannot dream.\u003cbr\u003e The voices of women working in all areas of film: producing, directing, acting, cinematography, lighting, art direction, sound, editing, marketing, journalism, documentary, film festival programming…\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e The most significant feature of this book is that it broadly covers the specific work and expertise of field staff, concerns as professionals, and changes in the work environment, all of which have not been given much attention except in certain specialized fields.\u003cbr\u003e In this book, the staff, who were previously seen as merely people performing assigned roles within the director's grand picture, introduce their work with affection and pride as partners and creators who work together to create the film. \u003cbr\u003eThrough their voices, we finally learn how the cinematographer's vision changes depending on his or her intentions, what concerns the lighting director has in the digital age, how the editing director controls the pace and rhythm of a film, and just how broad the scope of the art director's overall scope is.\u003cbr\u003e Moreover, it offers a comprehensive look at all areas of the film industry, from the ethical concerns of documentary directors tackling sharp social issues, to the concerns of film festival programmers facing the age of Netflix and YouTube, to the insights of film journalists who have documented the dynamic changes in the film industry for 30 years.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e “Memories of Murder” was a little different. \u003cbr\u003eWe called the work a rural noir, and in order to create a Korean noir, we wanted to work on maintaining a consistent tone of artistic elements from the filming stage, rather than in post-production.\u003cbr\u003e Since I had to control various visual elements, I naturally had to take charge of the costumes, props, and sets.\u003cbr\u003e It wasn't easy to get everyone's consent, as there were people who had been working much longer than me.\u003cbr\u003e - Ryu Seong-hee (art director), page 175\u003cbr\u003e\u003cbr\u003e The idea that digital is cheaper to produce than film seems to be a simple one.\u003cbr\u003e When I took a picture, it wasn't like that.\u003cbr\u003e Because it is more sensitive, has a different way of receiving and storing light, has different characteristics, and expresses depth differently, it requires more light and more detail to produce a picture as elegant as film.\u003cbr\u003e - Nam Jin-ah (cinematographer and lighting director), p. 211\u003cbr\u003e \u003cbr\u003eWorking on music videos taught me character-focused editing.\u003cbr\u003e Even when working on a film, I was able to think, 'Let's just look at the actors.'\u003cbr\u003e Before, I learned that things like story, camera language, and art language were important, but in music videos, it doesn't matter if the camera goes beyond the image line, there really are no rules.\u003cbr\u003e It's so free, following the lyrics and emotions of the music and the beat of the instrument.\u003cbr\u003e Because the sound is central, it doesn't feel jarring even if you use a lot of cuts.\u003cbr\u003e If a movie is a language that is completed step by step, then in a music video, you can use it just because it's good.\u003cbr\u003e I've trained so much that I can even now say, \"I just like it\" (laughs). I think I can make some illogical connections.\u003cbr\u003e - Shin Min-kyung (Editorial Director), p. 223\u003cbr\u003e \u003cbr\u003eThis book also addresses the changes that have occurred in the film industry since the standard labor contract and the so-called \"52-hour workweek\" were established.\u003cbr\u003e For them, movies are not only art and a dream, but also a profession and a way of life.\u003cbr\u003e There is a subtle difference in perspective between the generation that started working in the film industry in the 1990s, when overtime and all-nighters were routine, and the generation that entered the industry in the last 10 years. While the working environment in post-production fields such as sound and editing is relatively slow to change, the industry-wide effort to move in a better direction is a model for all industries.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e For now, life has become one with dinner.\u003cbr\u003e Until now, we thought that having the staff film for 20 hours straight or stay up all night would increase production efficiency, but now we don't film for more than 12 hours. \u003cbr\u003eAnd as the sudden changes on set and the unpredictability of timing that come from the improvisation of directing have decreased, the scene has become much more democratic.\u003cbr\u003e It has become a site where things must be done according to the agreed upon time and conditions, rather than being driven by the director's thoughts or stubbornness.\u003cbr\u003e This change felt unfamiliar to some staff members, while it was welcome to others.\u003cbr\u003e Nowadays, we take it for granted because the standard labor contract is applied to almost 90% of cases, but during the time of “Law of Sensuality,” the atmosphere was a mixture of various emotions, such as confusion and joy from the unfamiliar.\u003cbr\u003e - Shim Jae-myeong (producer), pages 23-24\u003cbr\u003e\u003cbr\u003e Overall, I think the current system is right.\u003cbr\u003e But the problem is, there's something called breathing.\u003cbr\u003e There are things that need to be taken care of and finished, but situations arise where you have to leave them behind. \u003cbr\u003eOf course, since movies are also an industry, promises are important.\u003cbr\u003e But as you do it, there are times when you think that what you came up with later will look much more beautiful.\u003cbr\u003e Even then, there are times when time is running out and you just have to go.\u003cbr\u003e Of course, it would be nice to make the best choice from the beginning, but that doesn't always happen, and from a director's perspective, there's a bitter feeling that there are more things to give up.\u003cbr\u003e Of course, if you think about the assistants, the current method is right.\u003cbr\u003e Work for a set amount of time and have some personal time.\u003cbr\u003e - Nam Jin-ah (cinematographer and lighting director), page 215\u003cbr\u003e\u003cbr\u003e It seems that post-production has become worse in some aspects as the standard labor contract has been applied to filming sites.\u003cbr\u003e As the labor costs of field staff increased, the post-production budget actually decreased.\u003cbr\u003e … … Field staff have individual contracts, but for post-production, production companies contract with companies. \u003cbr\u003eSince we are workers of that company, we need to talk to the sound company representative about working conditions.\u003cbr\u003e If we signed a direct contract with the production company, we could ask them to raise the unit price, but in reality, we are not the party contracting with them.\u003cbr\u003e … … The Sound Branch of the Film Workers Union was established in August 2019.\u003cbr\u003e From now on, I have to meet with representatives of sound companies and negotiate.\u003cbr\u003e - Choi Eun-ah (sound editor), pp. 195-196\u003cbr\u003e\u003cbr\u003e Above all, what binds them together is the common experience of being a minority, women, regardless of their field.\u003cbr\u003e Depending on the nature of the job, we can examine the various challenges each person had to overcome to survive as a professional in an industry dominated by men.\u003cbr\u003e These are stories that any woman working in Korean society, even if she is not in the film industry, can relate to.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e(〈The Moment of Our Lives〉) Because the main characters are women and they lose in the end, I was able to see very clearly how much difficulty they went through.\u003cbr\u003e … … I felt a lot while watching Director Im Soon-rye and CEO Shim Jae-myung.\u003cbr\u003e Because I watched from the side as you navigated the rough waves.\u003cbr\u003e … … I was very touched by the situation of female directors in the Korean film industry, the things they go through, and the path that producer Shim Jae-myung has taken and the things that he has gone through.\u003cbr\u003e They had a huge impact on me.\u003cbr\u003e - Moon So-ri (actress, director), pp. 136-137\u003cbr\u003e\u003cbr\u003e To be honest, I'm on the tall side even in CGK right now.\u003cbr\u003e I'm 176 centimeters tall.\u003cbr\u003e But, that's what I always ask when I meet with directors.\u003cbr\u003e Is it handheld? \u003cbr\u003eI learned how to use a Steadicam when I was in school, so I said, “Yes, I can use a Steadicam too.”\u003cbr\u003e But the funny thing is, because I have short hair, am tall, and am big, whenever I go to the bathroom, people say, “This is the women’s bathroom.”\u003cbr\u003e … … Male directors always say things like, “Can you do handheld shooting? You’re a lot thinner than I thought.”\u003cbr\u003e … … People usually think that in today’s world, if you have the skills, you can take pictures, and if you can’t take pictures, you don’t have the skills.\u003cbr\u003e But that skill can only be recognized and improved if you are constantly given opportunities.\u003cbr\u003e … … While men climb up one space at a time, women barely, luckily, manage to climb up one space.\u003cbr\u003e The next space is not easy to climb.\u003cbr\u003e Sometimes there is no next space to grab and climb up. \u003cbr\u003eIn my case, I grabbed one space and held on until the next space appeared.\u003cbr\u003e - Eom Hye-jeong (cinematographer), pp. 303-306\u003cbr\u003e\u003cbr\u003e When I turned 30, I heard a lot of talk about age.\u003cbr\u003e Nowadays, actresses in their 30s are the most active, but back then, I often heard people say that it was ambiguous because of their age.\u003cbr\u003e I'm too old to do a youth drama, but I'm also at an ambiguous age to play a mother or a woman who has established herself in society.\u003cbr\u003e I thought a lot about what I should do in that ambiguous situation.\u003cbr\u003e … … There are a lot of stereotypical roles.\u003cbr\u003e That's why the stories women can tell, their positions, and the things they can express are limited.\u003cbr\u003e … … Now, society has changed a lot, and there are many female directors and writers, so the things that can be expressed are more diverse than before.\u003cbr\u003e It will change even more in the future. \u003cbr\u003e- Chun Woo-hee (actress), pp. 386-387\u003cbr\u003e\u003cbr\u003e \u003cb\u003eA beautiful and strong solidarity among women within a single industry\u003cbr\u003e The Women in Film and the Korean Film Gender Equality Center are strong\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e The Women in Film, which celebrates its 20th anniversary this year, was founded by film marketer Chae Yun-hee, along with film industry professionals such as Shim Jae-myeong and Lim Soon-rye, and film researchers including the two authors of this book, Joo Jin-sook and Lee Soon-jin. Since then, it has grown into a large organization with nearly 300 members.\u003cbr\u003e Over the past 20 years, we have been working to create a gender-equal work environment, operate educational programs, conduct policy research, and host a festival for women in filmmaking, all to enable more women to work in better film settings. We have become a safe and trustworthy channel for women who dream of becoming filmmakers. \u003cbr\u003eDespite the fact that the majority of its executives were active filmmakers or researchers, their willingness to dedicate their time and effort to addressing the challenges facing women in the film industry led to a long-term solidarity among women that few other industries have achieved.\u003cbr\u003e The most meaningful fruit of that long history is the 'Korea Film Gender Equality Center Ddeundeun', which opened in 2018.\u003cbr\u003e The sight of seniors constantly learning, fighting, and striving with a clear awareness that \"I am a woman working in the film industry\" and a sense of responsibility to create a better working environment for their juniors is like a movie in itself.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e The film industry is the first to create a gender equality center led by the private sector and in collaboration with a public institution.\u003cbr\u003e That's the pride of Denden.\u003cbr\u003e Because it is led by the private sector, we are moving towards a system that reflects the unique characteristics of the field and the film industry. \u003cbr\u003eSo, we receive more reports than other centers, and support activities and preventive education are being conducted relatively well.\u003cbr\u003e We are not experts in that field, we are filmmakers.\u003cbr\u003e It's difficult because it's the first time we've done this, but Director Im Soon-rye, CEO Chae Yoon-hee, and I discuss and decide on any issues or incidents that arise, and we're organizing our positions.\u003cbr\u003e As a result, there is a lot of work to do.\u003cbr\u003e When we receive reports of sexual harassment or sexual violence, we continue to discuss with the Youngjinwi Committee how to handle them, how to support victims, how to provide preventive education, and how to train instructors in charge of such matters.\u003cbr\u003e Director Im Soon-rye is working on this project while also taking time out from her own projects. \u003cbr\u003eFilm directors are usually so engrossed in their own films that it's not as easy as it sounds to get involved in or help with public affairs.\u003cbr\u003e Even though CEO Chae Yun-hee and I are busy with our work, we are making time to do this.\u003cbr\u003e Doing something new and unfamiliar, I'm once again feeling the solidarity among female filmmakers.\u003cbr\u003e - Shim Jae-myeong (producer), page 30\u003cbr\u003e\u003cbr\u003e This book is also the result of decades of strong solidarity among female filmmakers.\u003cbr\u003e All the filmmakers who participated in this book are clearly aware of who is before them and what they must do for those who will come after them.\u003cbr\u003e I am also constantly thinking about how to maintain and develop my identity as a woman within the realm of Korean cinema.\u003cbr\u003e For those seeking to promote solidarity among women in society or at work, this book will be a very specific and helpful reference. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n \u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003eGOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e August 21, 2020\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 396 pages | 820g | 162*245*30mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791160946772\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1160946779 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43893973057578,"sku":"105723","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/576683bcfb5e3171a20ddc354000b301.jpg?v=1765427339","url":"https:\/\/librairie.coreenne.fr\/en\/products\/105723","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}