[ What the image-society projects as ideal (Seoul, 2010) . Photos of Marzia Poerio]
Title in English: 200 POUNDS BEAUTY. Korea, 2006.Con Ju Jin-Mo, Kim Ah-Joong, Kim Hyon-Suk, Lim Yon-shik, Park No-Shik, Song Dong-Il
In recent years, joining the usual one, and the films involved copyright, we have developed an interest for some key emotional film, if properly constructed, we would not have suspected that appeared when, at other times, we chose almost exclusively the so-called film d'essai . Se il nostro interesse per Hollywood resta limitato a pochi casi che ci sembrano più interessanti di altri, è invece più frequente la curiosità per il cinema asiatico, in parte indiano, ma più spesso, negli ultimi due anni, cinese, coreano, giapponese e di altri paesi dell'area estremoorientale, come pure alcune serie televisive, i cui prodotti sono parsi gradevoli ma anche non di rado commoventi e fondati su un'etica che, mentre rappresenta i valori diffusi dei buoni sentimenti, pare farlo, nonostante gli ibridismi parziali coi temi e i sottotesti culturali dell'Occidente, in modi che riflettono una maggiore coerenza di valori di quelli disgregati non rari nelle società statunitense ed europee. Abbiamo avuto a note of this passage, for example, reviewing the series drawn from the novels of Louis Cha, some different kinds of dramas and more.
This Korean film, directed by Kim Yong-Hwa was born from a Japanese comic book of Yumiko Suzuki, told a large audience in an ironic, engaging and human story of transformation. The main character, Hanna, singer behind the scenes that lends itself to a performer pretty but that voice can not sing, because of its ability but lack of attendance due to obesity and clumsiness, changes into a different person after the decision taken and carried out in secret to take a drastic slimming accompanied by an almost total plastic, which in Within a year, leads her to appear on stage with the name of Jenny is not clear at first even by people who knew her well, so much has changed in appearance, retaining the prestigious item, but we now possess the beauty that allows' Access to fame. It thus assists
narrative topos of Cinderella, while that of vanitas date of infidelity for themselves. Of course, Jenny / Hanna redeems himself, and really the decisive day of the concert that will launch on significant audiences, tells his story in public, reconnects with the affections, especially with her best friend and the father is sick and not opposed but supported by the public, raising as a Hanna again and abandoning the false personality, but not the body, the post-metamorphosis.
Certainly there is a history of individualism, but also hung up the value of loyalty with the nucleus of personality and a genuine resumption of altruism that the failure to market pressures image had threatened to suffocate.
The irony is also against the excessive plastic, which, according to data provided by the International Society of Aesthetic Plastic Surgery, South Korea sees the world's leading per capita actions (74 actions per 10,000 inhabitants in 2009 ).
The comedies of this kind are not superficial e vuote, al contrario spingono a prendere coscienza dei rapporti umani e delle difficoltà di gestire la vita individudale nella società tardomoderna che sembra liquefare gli schemi di esistenza precedenti.
[Renato Persòli]
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