{"product_id":"109493","title":"Lee Dong-jin's Boomerang Interview: The Secret of That Movie ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jX2sBvThmiUCH43sNJyXTZwFOPyBv.png?v=1765114740\" 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 Lee Dong-jin's Boomerang Interview: The Secret of That Movie \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\/3442806\/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\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eThis is a director's theory, constructed through a long and drawn-out conversation, and a love letter to today's Korean cinema.\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eThis is a book of 'Boomerang Interviews', which film critic and film journalist Lee Dong-jin has been publishing for two years, in which he met with, asked, listened to, and recorded stories about films from Korea's leading film directors.\u003cbr\u003e As the author says, the in-depth content that can be called a \"director's theory\" makes us appreciate the true value of the interviews, which average about 10 hours per person, and allows us to look into their inner selves that we cannot find anywhere else.\u003cbr\u003e\u003cbr\u003e We attempted to interview the directors by drawing appropriate questions from lines in their works and based on these, and also had additional meetings to cover films that were released later.\u003cbr\u003e Because I began the interview after meticulously examining every line of their films, I was able to continue a more detailed and honest conversation, and the finished product based on this provides readers with a pleasant stimulation.\u003cbr\u003e \u003cbr\u003eIt contains the stories of directors Hong Sang-soo, Bong Joon-ho, Ryu Seung-wan, Yoo Ha, Lim Soon-rye, and Kim Tae-yong, allowing viewers to see a new side of themselves hidden behind the screens of their representative works, as well as the writers' unique perspectives on them.\u003cbr\u003e The book not only contains thoughts about the medium of film and its text, but also the consciousness and thoughts that make up their lives, making it even more captivating for the reader.\u003cbr\u003e The latter part of the book contains the author's own thoughts, which he revealed to reporter Kim Hye-ri of Cine21, and behind-the-scenes stories from the boomerang interview, which adds another layer of enjoyment.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\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 Starting the prologue boomerang interview\u003cbr\u003e\u003cbr\u003e A miserable life, an absurd world, and a fierce battle against false consciousness: Hong Sang-soo\u003cbr\u003e Towards a delicate texture, rich volume, and an image that will endure to the end: Bong Joon-ho  \u003cbr\u003eBetween the thrill of the genre and the sadness of life, the eldest son's film that never stops moving: Ryu Seung-wan\u003cbr\u003e For a film of discovery, not an escape from reality, rather than visuals: Yuha\u003cbr\u003e The Compassion of the Observer, the Comfort of a Film That Cries with You: Im Soon-rye\u003cbr\u003e A film that is like an unexpected gift, with a flexible attitude and deep sensitivity: Kim Tae-yong\u003cbr\u003e\u003cbr\u003e The Private Life of a Honest Formalist by Kim Hye-ri\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\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 - Aren't you guys cold?\u003cbr\u003e - cold.\u003cbr\u003e Teacher, please buy me a drink.\u003cbr\u003e - Alcohol? What kind of alcohol is this, in broad daylight?\u003cbr\u003e In \"Women are the future of men,\" Yoo Ji-tae meets his students who were playing soccer at the school playground and talks to them.\u003cbr\u003e\u003cbr\u003e One scene that cannot be left out in Director LEE's movies is the drinking party scene.\u003cbr\u003e It appears almost as often as the bed scene. (Laughs) I counted, and it turns out that there are 42 drinking parties in all nine episodes. \u003cbr\u003eAmong them, it appeared the most in “Without Knowing” and “The Power of Gangwon-do.”\u003cbr\u003e They appear nine and eight times respectively.\u003cbr\u003e The total number may be slightly less or more than 42, but it won't be much different.\u003cbr\u003e I guess it's safe to say that you especially enjoy using the drinking party setting, right? (Laughs)\u003cbr\u003e\u003cbr\u003e HONG I think that in the process of creating cinematic flesh, whether it be details or episodes, drinking parties naturally come to mind.\u003cbr\u003e As a director, you end up squeezing out details, but if you squeeze out things that are realistic, interesting, and unexpected, then they become good details.\u003cbr\u003e I think drinking parties become very useful when you have a clear goal in mind and work out the details.\u003cbr\u003e When I think about details, I don't make them through logical reasoning.\u003cbr\u003e When I have a specific situation in mind, details just come to me, out of order. \u003cbr\u003eIt's a bit vague, but I have no choice but to express it this way.\u003cbr\u003e It seems that in most cases, we end up selecting and ordering details that come to mind regardless of the context.\u003cbr\u003e --- pp.72-73, from “A miserable life, an absurd world, and a fierce fight against false consciousness: Hong Sang-soo”\u003cbr\u003e\u003cbr\u003e - Wow, it's art, it's art.\u003cbr\u003e Not because she's my daughter, but because she's truly a work of art.\u003cbr\u003e In \"Monster,\" Byun Hee-bong gets excited when his daughter hits the target with 10 points during an archery match that is being broadcast live.\u003cbr\u003e\u003cbr\u003e Director LEE: There must be scenes that you feel embarrassed about after completing the film, but there must also be scenes that you feel, “I made this, but it’s really great.” \u003cbr\u003eIn the line I just quoted, the word \"art\" appears three times, so please choose three scenes that you consider \"art.\" \"Mother\" hasn't been out for very long, so it would be best if you could choose one from each of the previous three films.\u003cbr\u003e\u003cbr\u003e BONG This is a question that I can't seem to get out of.\u003cbr\u003e Since you asked a question about my movie line, I can't avoid it.\u003cbr\u003e Usually when I get a question like this, I say, “I want to do it all again.\u003cbr\u003e So instead, I'll just tell you the three most regrettable scenes,\" he said, avoiding the topic. (Laughs) Well, first of all, there's a scene from \"The Host\" where the family members collapse backwards at the joint incense burner, shot with a direct sense of reality. \u003cbr\u003eThe second is a long take scene from the very beginning of \"Memories of Murder\" where a commotion unfolds on the ridge of a rice paddy where a murdered body is found.\u003cbr\u003e And the third is the scene in \"A Dog of Flanders\" where the strawberries on top of the cake get caught in the box while the professor is trying to bribe the professor by throwing wads of money on the floor.\u003cbr\u003e --- p.262, from “Delicate Texture and Rich Volume, Towards an Image That Will Be Maintained Until the End: Bong Joon-ho”\u003cbr\u003e\u003cbr\u003e - You really are a field person.\u003cbr\u003e In \"Dachimawa Lee,\" when scientist Kim Young-in asks Im Won-hee about a new weapon he has developed, he praises it.\u003cbr\u003e\u003cbr\u003e When I watch Director LEE's films, I always get the strong feeling that he created them with his body on site, not with his head in the office.\u003cbr\u003e That was my impression when I first saw your debut work, \"Die Bad.\" \u003cbr\u003eI also think that is one of the characteristics of Ryu Seung-wan's works.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e RYOO If you felt that way, it would be a great compliment to me.\u003cbr\u003e I try to make movies with my body.\u003cbr\u003e I think it's becoming more and more like that.\u003cbr\u003e There was a time in my life when I wanted to make more intellectual films.\u003cbr\u003e But the more I did that, the more criticism I received and the more the movie became tangled.\u003cbr\u003e I've heard people say that I'm copying other people's movies.\u003cbr\u003e Now, the field feels more and more important to me.\u003cbr\u003e I think I've been working hard and tirelessly making movies up until now, but I view my work as directing labor.\u003cbr\u003e --- pp.412-413, from \"The eldest son's film that never stops walking between the pleasure of the genre and the sorrow of life: Ryu Seung-wan\"\u003cbr\u003e\u003cbr\u003e - Hey, Myeonggeun.\u003cbr\u003e Are you neither a civilian nor a gangster, but a vandal? \u003cbr\u003eIn \"Mean Streets,\" prosecutor Kwon Tae-won sneers at Cheon Ho-jin, the chairman of a company that works with organized crime.\u003cbr\u003e\u003cbr\u003e LEE You have the identities of both poet and film director.\u003cbr\u003e The film industry must have been awkward for you at first. When did you start thinking about becoming a full-fledged film director?\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e YOO I'm writing this after finishing my third film, \"The Cruel History of Maljukgeori.\"\u003cbr\u003e From then on, I felt like people were treating me as a full-fledged film director.\u003cbr\u003e To be honest, I personally still feel uncomfortable with the film industry.\u003cbr\u003e Not many people know me, and I still feel like a guest.\u003cbr\u003e But these days, I feel like I'm a guest even in the literary world.\u003cbr\u003e I feel like an outsider in both worlds.\u003cbr\u003e --- pp.551-552, from “For a film of discovery, not an escape from reality rather than visuals: Yuha”\u003cbr\u003e \u003cbr\u003e- Hey, did you see the guy playing bass earlier? Isn't his posture a work of art?\u003cbr\u003e A high school student who has just started to develop a passion for music in \"Waikiki Brothers\" is leaving a concert of a popular rock band and tells his friend,\u003cbr\u003e\u003cbr\u003e LEE I can pick out some characteristics, but basically, it seems like the director doesn't have much of an ambition for the style of the film.\u003cbr\u003e Because in the director's films, there aren't many scenes that strongly reveal a self-consciousness about form.\u003cbr\u003e\u003cbr\u003e YIM I have no desire for formality.\u003cbr\u003e When a truly exceptional artist provides a particular form, there are often instances where artistic inspiration arises from that form itself.\u003cbr\u003e But I am a director who cannot reach that level.\u003cbr\u003e When artists with a shallow self-consciousness over-expose their forms, the audience gets tired.\u003cbr\u003e You end up losing focus on the text and getting unnecessarily drawn into the format. \u003cbr\u003eI don't like to talk symbolically or in a multi-layered way.\u003cbr\u003e If you have something to say, I think it's better to say it directly.\u003cbr\u003e I want to convey it easily.\u003cbr\u003e Whether it's literary or popular, I want to make films that are easily understood by many people.\u003cbr\u003e --- p.629, from “The Compassion of the Observer, the Comfort of a Film That Cries Together: Im Soon-rye”\u003cbr\u003e\u003cbr\u003e - Teacher, please try again.\u003cbr\u003e Please.\u003cbr\u003e Just one more time.\u003cbr\u003e In the physical examination scene of \"Whispering Corridors: The Second Story,\" a female student asks to be measured again after her height is measured at 146 centimeters.\u003cbr\u003e\u003cbr\u003e LEE Are there any scenes from “Whispering Corridors 2” or “Birth of a Family” that you would like to re-film?\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e KIM There are more scenes I want to reshoot in “Whispering Corridors 2.” \u003cbr\u003eAfter it was finished, I had quite a few such feelings, but now I can't quite remember what those scenes were.\u003cbr\u003e Maybe it's because I was deliberately trying to forget.\u003cbr\u003e The first thing that comes to mind right now is the scene where Si-eun and Hyo-shin fight fiercely on the rooftop.\u003cbr\u003e At the time, when we were filming that scene, we couldn't finish it properly, so in the actual movie, we only used it briefly as a flashback.\u003cbr\u003e As a director, I put a lot of thought into how two children who cared so much for each other ended up stabbing each other in the heart, and in that sense, that scene is very important.\u003cbr\u003e Because that's the last scene where the two talk before Hyo-shin dies.\u003cbr\u003e If I could film it again, I would like to film that scene in more detail, even if it's just out of curiosity.\u003cbr\u003e\n\n\u003c\/div\u003e  \u003cdiv\u003e--- pp.714-715, from “A movie like an unexpected gift of flexible attitude and deep sensitivity: Kim Tae-yong”\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eBong Joon-ho of \"Mother\" and Hong Sang-soo of \"Not Knowing Anymore\"\u003cbr\u003e An intimate and special interview with the people who made that very film.\u003c\/b\u003e\u003cbr\u003e The 'Boomerang Interview', which film journalist Lee Dong-jin has been conducting and publishing for the past two years, has a unique format.\u003cbr\u003e This is an interview where we meet with Korea's representative film directors and ask them questions drawn from lines in their films. For example, we borrow the line \"What's your name?\" from \"Not Knowing Well\" and ask Director Hong Sang-soo how he names the characters in his films.\u003cbr\u003e To achieve this, reporter Lee Dong-jin watched all of the directors' works in order and interviewed them, and the stories shared for an average of 10 hours were turned into an article of over 3,000 pages.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e'Boomerang Interviews', which delve deep into the lives of directors by covering not only new works but also their debut and controversial works, have been published as a book.\u003cbr\u003e The first fruit of a long work, 『Lee Dong-jin's Boomerang Interview - The Secret of That Movie』 contains interviews with representative directors who are currently receiving favorable reviews from audiences and critics in the Korean film industry, such as Hong Sang-soo of \"Without Knowing Anything\", Bong Joon-ho of \"Mother\", Ryu Seung-wan of \"Dachimawa Lee\", Yu Ha of \"A Frozen Flower\", Im Soon-rye of \"The Moment of Our Lives\", and Kim Tae-yong of \"The Birth of a Family\".\u003cbr\u003e\u003cbr\u003e The interviews in this book are not just a repetition of questions and answers.\u003cbr\u003e This is a new form of 'director theory' that is enough to satisfy your love and curiosity about movies by revealing the process of creating countless works that moved and enthralled audiences and the hidden meanings of directors.\u003cbr\u003e  \u003cbr\u003e\u003cb\u003e“I’m still fascinated by movies.”\u003cbr\u003e Directors' Intimate Confessions About Life and Film\u003c\/b\u003e\u003cbr\u003e Before and after a film is released, countless interviews with the director and actors are published in various media outlets.\u003cbr\u003e However, the content is often full of praise for publicity purposes and is often formulaic.\u003cbr\u003e In comparison, reporter Lee Dong-jin's 'Boomerang Interview' delves into the director's view of cinema, the intention behind composing certain scenes, and even his attitude toward life in depth, something that cannot be seen in interviews about box office hits or new works at the time.\u003cbr\u003e\u003cbr\u003e It all started with a love for movies and directors.\u003cbr\u003e That's why the 'boomerang' interview was born, where we meticulously watched all the feature films released by the directors over and over again and turned a significant amount of dialogue into questions to be asked back to the directors. \u003cbr\u003eThe directors who answered the questions also immersed themselves in their own films and honestly told their own stories.\u003cbr\u003e Reporter Lee Dong-jin said about these meetings, which sometimes lasted late into the night, “After thoroughly preparing and sitting down with the director, one interview usually took about 10 hours.\u003cbr\u003e “The more we talked, the more greedy and thirsty I became,” he said.\u003cbr\u003e\u003cbr\u003e In that sense, 『Lee Dong-jin's Boomerang Interview - The Secret of That Movie』 is comprised of the most subjective interviews and impressions.\u003cbr\u003e Reporter Lee Dong-jin confesses that he is eagerly awaiting the next film by director Hong Sang-soo, who has created his own unique language through his prolific work, while also looking forward to director Bong Joon-ho's filmography, which has yet to reach its peak. \u003cbr\u003eWe also discover the interesting aspect of 'the aesthetics of excess' in Director Ryoo Seung-wan, and hear how his creativity is expressed through quoting Director Yoo Ha's poems.\u003cbr\u003e In Director Im Soon-rye, I find warmth that makes me cry together with others, and after meeting Director Kim Tae-yong, I am amazed, saying, \"So that's why he made this kind of movie.\"\u003cbr\u003e\u003cbr\u003e 『Lee Dong-jin's Boomerang Interview - The Secret of That Movie』 contains revised reviews of previously published works and also includes reviews of his latest works such as \"Without Knowing\" and \"Mother,\" helping readers understand the director and his works.\u003cbr\u003e Meanwhile, reporter Lee Dong-jin also tried to put himself in the interviewee's shoes.\u003cbr\u003e At the end of the book, Kim Hye-ri, a reporter for Cine21 who has been working with him as a film reporter for 10 years, included an interview with reporter Lee Dong-jin, a “sincere formalist.”\u003cbr\u003e \u003cbr\u003e*“The people I am most grateful to are the directors who gave me a lot of their time and told me the best stories.\u003cbr\u003e The people I met through the boomerang interview were people I liked and respected cinematically, so I was able to endure the long hours of hard work with a sense of satisfaction.\u003cbr\u003e I do not consider these writings to be mere interview records.\u003cbr\u003e This is a directorial theory constructed through a long and drawn-out conversation, and (I believe) a love letter to today's Korean cinema.\u003cbr\u003e This work made me love Korean films even more.\u003cbr\u003e\u003cbr\u003e I trust quantity over quality of time (things that have endured the passage of time are much more important than short bursts of intense energy).\u003cbr\u003e Here are the traces of where I have spent the most time over the past few years. \u003cbr\u003eAnd now, I bow my head and express my deep gratitude to you for taking the time, which is not short, to write here while reading this thick book.” --- pp.8-9, from “Starting the Boomerang Interview” \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\"\u003e GOODS 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 June 25, 2009\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 756 pages | 988g | 145*225*40mm\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 9788959133802\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 8959133809 \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":43894806511658,"sku":"109493","price":41.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/acba10abca65fc238dfc380b6722efcc.jpg?v=1765446854","url":"https:\/\/librairie.coreenne.fr\/en\/products\/109493","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}