{"id":29395,"date":"2023-09-23T20:41:44","date_gmt":"2023-09-23T18:41:44","guid":{"rendered":"https:\/\/www.sfsic.org\/?p=29395"},"modified":"2023-09-29T18:08:34","modified_gmt":"2023-09-29T16:08:34","slug":"le-cinema-sud-coreen-et-les-femmes-les-femmes-devant-sur-et-derriere-lecran","status":"publish","type":"post","link":"https:\/\/www.sfsic.org\/en\/aac-evenement\/le-cinema-sud-coreen-et-les-femmes-les-femmes-devant-sur-et-derriere-lecran\/","title":{"rendered":"Le cin\u00e9ma sud-cor\u00e9en et les femmes : les femmes devant, sur et derri\u00e8re l\u2019\u00e9cran"},"content":{"rendered":"<p><!-- fxzn:singledetail --><\/p>\n<div class=\"zone zn-singledetail\" id=\"fxzn-singledetail-1\">\n<div class=\"zone-block zn-singledetail-block alignwide va-top\">\n<div class=\"row\">\n<div class=\"columns large-8 large-push-4\">\n<div class=\"zn-singledetail-metabox\">\n<div class=\"zn-singledetail-pubdate pubdate\">\n\t\t\t\t\t<span class=\"pubdate-txt\">Mis en ligne le<\/span><span class=\"doubledot\"><\/span> <time class=\"pubdate-time\" pubdate datetime=\"2023-09-23T20:41:44+02:00\">23 septembre 2023<\/time>\t\t\t\t<\/div>\n<div class=\"zn-singledetail-thematiques with-sep-comma\">\n<ul class=\"termslist termslist-thematique\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Th\u00e9matiques<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-thematique term-images-cinema-medias-audiovisuels-et-industries-culturelles\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/thematiques\/images-cinema-medias-audiovisuels-et-industries-culturelles\/\" title=\"Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles\"><span class=\"termslist-itemname\">Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"row\">\n<div class=\"columns large-4\">\n<div class=\"zn-singledetail-sidebar bg-cornersquares\">\n<div class=\"zn-singledetail-infos\">\n<p class=\"zn-singledetail-reponse-date\">\n\t\t\t\t\t\t<span>R\u00e9ponse attendue pour le<\/span><span class=\"doubledot\"><\/span> <strong>26\/11\/2023<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-reponse-type\">\n\t\t\t\t\t<span>Type de r\u00e9ponse<\/span><span class=\"doubledot\"><\/span> <strong>R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-type\">\n\t\t\t\t\t\t\t<span>Type d\u2019\u00e9v\u00e9nement<\/span><span class=\"doubledot\"><\/span> <strong>Journ\u00e9e d\u2019\u00e9tude<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-contacts\">\n<h3 class=\"zn-singledetail-section-title\">Contacts<\/h3>\n<ul class=\"zn-singledetail-contacts-list\">\n<li class=\"zn-singledetail-contact\">\n\t\t\t\t\t\t\t<span class=\"zn-singledetail-contact-name\">Comit\u00e9 d&#8217;organisation<\/span><span class=\"doubledot\"><\/span><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"zn-singledetail-contact-mail prettylink\" href=\"mailto:resecc82@gmail.com\">resecc82@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"columns large-8\">\n<div class=\"zn-singledetail-contentbox\">\n<div class=\"zn-singledetail-eventinfo\">\n<div class=\"zn-singledetail-eventinfo-inner\">\n<div class=\"zn-singledetail-eventdates\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Dates de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><\/p>\n<ul class=\"zn-singledetail-eventdates-list\">\n<li class=\"zn-singledetail-eventdates-item\">\n\t\t\t\t\t\t\t\tDu <time class=\"event-start-time\" datetime=\"2024-03-13T00:00:00+00:00\">13\/03\/2024<\/time> au <time class=\"event-end-time\" datetime=\"2024-03-14T00:00:00+00:00\">14\/03\/2024<\/time>\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<p class=\"zn-singledetail-eventplace\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Lieu de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><br \/>\n\t\t\t\t\t\t<span class=\"zn-singledetail-eventplace-adr\"><\/p>\n<p>\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"adr-place\">La Rochelle Universit\u00e9<\/span>,<\/p>\n<p>\t\t\t\t\t\t<span class=\"adr-city\">La Rochelle<\/span><br \/>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"zn-singledetail-annonce wig-content\">\n<p>Une journ\u00e9e d&rsquo;\u00e9tude intitul\u00e9e \u00ab&#160;Le cin\u00e9ma sud-cor\u00e9en et les femmes&#160;: les femmes devant, sur et derri\u00e8re l&rsquo;\u00e9cran&#160;\u00bb se tiendra \u00e0 La Rochelle les 13 et 14 mars 2024.<\/p>\n<h2>Pr\u00e9sentation<\/h2>\n<p>En France, bien que le cin\u00e9ma sud-cor\u00e9en soit r\u00e9guli\u00e8rement appr\u00e9hend\u00e9 \u00e0 travers le prisme de ses personnages f\u00e9minins ou celui de la singularit\u00e9 des rapports homme\/femme, la question du genre n\u2019a donn\u00e9 lieu qu\u2019\u00e0 des analyses p\u00e9riph\u00e9riques. Circonscrites \u00e0 des r\u00f4les d\u2019h\u00e9ro\u00efne marquants, comme celui de <em>La Vierge mise \u00e0 nu par ses pr\u00e9tendants <\/em>(Hong Sang-soo, 2000) comment\u00e9 par Adrien Gombeaud<sup>1<\/sup>, ou \u00e0 quelques figures de r\u00e9alisatrices ou d\u2019actrices (le r\u00e9cent <em>Dictionnaire du cin\u00e9ma cor\u00e9en <\/em>d\u2019Antoine Coppola, qui revient sur la d\u00e9cennie 2010, ne consacre que deux entr\u00e9es \u00e0 des r\u00e9alisatrices et onze \u00e0 des actrices<sup>2<\/sup>), ces \u00e9tudes ne semblent pas avoir pris la mesure de l\u2019importance des femmes dans cette filmographie en plein essor. Alors que les outils d\u2019analyse propos\u00e9s aux \u00e9tudes cin\u00e9matographiques par les <em>gender studies <\/em>(de Laura Mulvey \u00e0 Genevi\u00e8ve Sellier ou Iris Brey) ont bient\u00f4t cinquante ans, cette invisibilit\u00e9 tenace m\u00e9rite d\u2019\u00eatre interrog\u00e9e. Comme cette journ\u00e9e d\u2019\u00e9tude souhaiterait le montrer, le cin\u00e9ma sud-cor\u00e9en se pr\u00eate en effet aussi bien \u00e0 l\u2019analyse de l\u2019\u00e9volution du traitement des personnages f\u00e9minins dans les r\u00e9cits filmiques qu\u2019\u00e0 l\u2019\u00e9tude des trajectoires des femmes \u00e9voluant dans les divers milieux professionnels du cin\u00e9ma (industrie, festival, critique\u2026).<\/p>\n<p>Progressivement mis en lumi\u00e8re au d\u00e9but des ann\u00e9es 1990 par des festivals (Deauville, Nantes, Vesoul) et une r\u00e9trospective au Centre Pompidou, les longs m\u00e9trages sud-cor\u00e9ens n\u2019ont cess\u00e9, depuis le d\u00e9but des ann\u00e9es 2000, de b\u00e9n\u00e9ficier d\u2019une diffusion toujours plus importante et appr\u00e9ci\u00e9e en France. Apr\u00e8s la d\u00e9couverte de ce cin\u00e9ma national \u00e0 travers la filmographie de r\u00e9alisateurs comme Im Kwon- taek, Hong Sang-soo ou Kim Ki-duk, l\u2019accent a \u00e9t\u00e9 rapidement port\u00e9 sur des films de genres (thriller, action, horreur), participant de fait \u00e0 construire une repr\u00e9sentation parcellaire de la production locale qui compte pourtant nombre de com\u00e9dies et de romances. Du c\u00f4t\u00e9 de la critique journalistique, les revues sp\u00e9cialis\u00e9es se sont fait le relais de cette perception biais\u00e9e (et masculine), en constituant des dossiers ou des num\u00e9ros sp\u00e9ciaux aux genres ou aux auteurs ayant re\u00e7u une reconnaissance internationale<sup>3<\/sup>. Les spectateurs et spectatrices fran\u00e7ais, enfin, se sont fait la chambre d\u2019\u00e9cho de cet \u00ab&#160;espace de communication<sup>4<\/sup>&#160;\u00bb&#160;: sur les forums, nombre d\u2019internautes vantent dans leurs critiques la puissance transgressive du cin\u00e9ma sud-cor\u00e9en et de ses r\u00e9alisateurs, tenus pour les nouveaux ma\u00eetres d\u2019un cin\u00e9ma de genre cherchant \u00e0 faisant concurrence \u00e0 Hollywood. Sans doute en raison de cette approche \u00ab&#160;auteuriste&#160;\u00bb et cin\u00e9phile, peu de place a pu \u00eatre consacr\u00e9e aux personnages f\u00e9minins et aux r\u00e9alisatrices.<\/p>\n<p>Hors des fronti\u00e8res fran\u00e7aises, les <em>gender studies <\/em>consacr\u00e9es au cin\u00e9ma sud-cor\u00e9en ont pourtant pris de l\u2019importance d\u00e8s la fin des ann\u00e9es 1990, \u00e0 travers deux pr\u00e9occupations majeures&#160;: la repr\u00e9sentation des questions de genre et de sexualit\u00e9s \u00e0 l\u2019\u00e9cran et la repr\u00e9sentativit\u00e9 des femmes dans l\u2019industrie du cin\u00e9ma. Si les d\u00e9cennies 1990 et 2000 ont notamment \u00e9t\u00e9 marqu\u00e9es par l\u2019\u00e9tude de la repr\u00e9sentation de la masculinit\u00e9<sup>5<\/sup> ou la construction historique d\u2019un f\u00e9minin st\u00e9r\u00e9otyp\u00e9<sup>6<\/sup>, plusieurs analyses se sont par la suite int\u00e9ress\u00e9es \u00e0 la question de la violence exerc\u00e9e par les personnages f\u00e9minins, comme celui de <em>Mother <\/em>(Bong Joon-ho, 2009), ou bien \u00e0 la th\u00e9matisation des violences sexistes et sexuelles v\u00e9cues par les femmes sud-cor\u00e9ennes<sup>7<\/sup>. D\u2019autres \u00e9tudes, consacr\u00e9es aux personnages f\u00e9minins dans les m\u00e9lodrames, les films d\u2019horreur ou de science-fiction, ont interrog\u00e9 la place des femmes au sein d\u2019une soci\u00e9t\u00e9 sud-cor\u00e9enne en pleine mutation<sup>8<\/sup>.<\/p>\n<p>D\u2019autre part, la recension des femmes de l\u2019industrie cin\u00e9matographique en Cor\u00e9e du Sud s\u2019av\u00e8re elle aussi tr\u00e8s nettement en d\u00e9faveur des r\u00e9alisatrices, techniciennes et productrices \u2014 ce dont plusieurs \u00e9tudes commencent \u00e0 retracer l\u2019histoire<sup>9<\/sup>. Si, durant le XXe si\u00e8cle, seulement neuf r\u00e9alisatrices ont rencontr\u00e9 le public en Cor\u00e9e du Sud, l\u2019\u00e9mergence des femmes cin\u00e9astes est cependant particuli\u00e8rement notable depuis la fin des ann\u00e9es 2000. En 2007, sept nouvelles r\u00e9alisatrices r\u00e9alisent leurs premiers longs m\u00e9trages&#160;; elles sont treize en 2009. Plusieurs critiques de cin\u00e9ma sud-cor\u00e9en ont ainsi not\u00e9 l\u2019\u00e9mergence d\u2019une \u00ab&#160;nouvelle vague de films de femmes&#160;\u00bb<sup>10<\/sup>. N\u00e9anmoins, comme dans d\u2019autres industries cin\u00e9matographiques \u00e0 travers le monde, il existe toujours un plafond de cellulo\u00efd en Cor\u00e9e du Sud. Kim Sook-hyun a par exemple soulign\u00e9 la limite des genres cin\u00e9matographiques autoris\u00e9s aux r\u00e9alisatrices.<\/p>\n<p>Selon elle, seuls les <em>y\u014fja y\u014fnghwa <\/em>(\uc5ec\uc790 \uc601\ud654, \u00ab&#160;films f\u00e9minins&#160;\u00bb&#160;: c\u2019est-\u00e0-dire les m\u00e9lodrames, romances et autres films \u00e0 petit budget) sont confi\u00e9s \u00e0 des r\u00e9alisatrices, si bien qu\u2019elles ne b\u00e9n\u00e9ficient jamais d\u2019une reconnaissance importante<sup>11<\/sup>. Hong Sora pointe quant \u00e0 elle le r\u00f4le qu\u2019a jou\u00e9 l\u2019in\u00e9gale r\u00e9partition du capital social et relationnel entre hommes et femmes au moment du renouveau du champ cin\u00e9matographique dans les ann\u00e9es 1990. Majoritairement constitu\u00e9s par des r\u00e9seaux de cin\u00e9philes masculins, ces milieux ont finalement exclu les femmes r\u00e9alisatrices<sup>12<\/sup>.<\/p>\n<p>La litt\u00e9rature acad\u00e9mique sud-cor\u00e9enne s\u2019est cependant r\u00e9cemment tourn\u00e9e vers la place oubli\u00e9e des femmes dans la r\u00e9alisation des films, par exemple en \u00e9tudiant les trajectoires des r\u00e9alisatrices ind\u00e9pendantes<sup>13<\/sup>. Si la notion de \u00ab&#160;cin\u00e9-f\u00e9minisme&#160;\u00bb date du d\u00e9but des ann\u00e9es 1990, port\u00e9e par des chercheuses comme Byeon Jae-ran, Kim So-young, Joo Jin-suk, ou Yu Gina, l\u2019int\u00e9r\u00eat pour le f\u00e9minisme s\u2019est accru sensiblement dans le milieu acad\u00e9mique \u00e0 partir des ann\u00e9es 2000. Celui-ci s\u2019inscrit dans une dynamique port\u00e9e par des festivals comme le festival international du film de femmes de S\u00e9oul ou celui du court-m\u00e9trage Mise-en-sc\u00e8ne , o\u00f9 \u00e9mergent de jeunes r\u00e9alisatrices. Toutefois, depuis les ann\u00e9es 2010, un ph\u00e9nom\u00e8ne paradoxal s\u2019observe&#160;: la mont\u00e9e de l\u2019antif\u00e9minisme et de la misogynie (<em>y\u014fs\u014fng hy\u014fmo<\/em>,\uc5ec\uc131 \ud610\uc624, \u00ab&#160;haine envers les femmes&#160;\u00bb) est devenue de plus en plus visible, en r\u00e9action \u00e0 l\u2019influence de mouvements qui, comme #MeToo, ont eu un impact consid\u00e9rable sur la soci\u00e9t\u00e9 cor\u00e9enne actuelle (selon l\u2019expression de la critique f\u00e9ministe Sohn Hee Jeong, le f\u00e9minisme est \u00ab&#160;reboot\u00e9&#160;\u00bb en 2015).<\/p>\n<p>Partant de ce constat de l\u2019actualit\u00e9 d\u2019un questionnement sur la place des femmes au cin\u00e9ma en Cor\u00e9e du Sud, il nous semble important de lancer en France une r\u00e9flexion sur les questions de genre dans le cin\u00e9ma sud-cor\u00e9en. Les propositions de participation \u00e0 ce colloque pourront ainsi s\u2019inscrire dans l\u2019un des trois axes dessin\u00e9s par cet appel&#160;:<\/p>\n<ul>\n<li>Les femmes devant l\u2019\u00e9cran&#160;: \u00e9tudes de la r\u00e9ception des spectatrices sud-cor\u00e9ennes, ou de la r\u00e9ception par les femmes du cin\u00e9ma sud-cor\u00e9en&#160;; \u00e9tudes de la cin\u00e9philie des femmes en Cor\u00e9e du Sud\u2026<\/li>\n<li>Les femmes sur l\u2019\u00e9cran&#160;: \u00e9tudes de la repr\u00e9sentation des femmes dans les films&#160;; \u00e9tudes du parcours des actrices sud-cor\u00e9ennes&#160;; \u00e9tudes de la repr\u00e9sentation de la f\u00e9minit\u00e9 et des mouvements f\u00e9ministes (ou antif\u00e9ministes)\u2026<\/li>\n<li>Les femmes derri\u00e8re l\u2019\u00e9cran&#160;: \u00e9tudes de la place des femmes dans le syst\u00e8me de production du cin\u00e9ma industriel ou ind\u00e9pendant&#160;; place des r\u00e9alisatrices, sc\u00e9naristes ou productrices&#160;; place de la critique f\u00e9minine ou des festivals d\u00e9di\u00e9s aux films de femmes\u2026<\/li>\n<\/ul>\n<h2>Modalit\u00e9s de contribution<\/h2>\n<p>Les propositions de communication sont \u00e0 envoyer au plus tard le <strong>26 novembre 2023<\/strong> (r\u00e9ponse le 8 janvier 2024) \u00e0 l\u2019adresse suivante&#160;: <a href=\"mailto:resecc82@gmail.com\"><strong>resecc82@gmail.com<\/strong>.<\/a><\/p>\n<p>Ces propositions seront r\u00e9dig\u00e9es en fran\u00e7ais et envoy\u00e9es au format .doc ou .docx. Elles comporteront&#160;:<\/p>\n<ul>\n<li>Le titre de la proposition et l\u2019axe dans lequel s\u2019inscrit la communication<\/li>\n<li>Un r\u00e9sum\u00e9 de la proposition de 500 mots maximum<\/li>\n<li>Quatre mots-cl\u00e9s<\/li>\n<li>Une bibliographie<\/li>\n<li>Une notice biographique de l\u2019auteur ou de l\u2019autrice de la communication.<\/li>\n<\/ul>\n<h2>\u00c9quipe d\u2019organisation<\/h2>\n<ul>\n<li>Romaric Berland, Universit\u00e9 Sorbonne-Nouvelle<\/li>\n<li>Sejeong Hahn, Universit\u00e9 Sorbonne-Nouvelle<\/li>\n<li>Sora Hong, La Rochelle Universit\u00e9<\/li>\n<li>Moduk Koo, Institut National des Langues et Civilisations Orientales<\/li>\n<li>Fr\u00e9d\u00e9ric Monvoisin, Universit\u00e9 de Li\u00e8ge (Belgique)<\/li>\n<li>Barnab\u00e9 Sauvage, Universit\u00e9 Paris Cit\u00e9<\/li>\n<\/ul>\n<h2><strong>Comit\u00e9 scientifique<\/strong><\/h2>\n<ul>\n<li>Chlo\u00e9 Delaporte, Universit\u00e9 Paul-Val\u00e9ry<\/li>\n<li>St\u00e9phane Th\u00e9venet, Institut National des Langues et Civilisations Orientales<\/li>\n<li>Giusy Pisano, \u00c9cole Nationale Sup\u00e9rieure Louis-Lumi\u00e8re<\/li>\n<li>Gina Yu, Universit\u00e9 Dongguk (Cor\u00e9e du Sud)<\/li>\n<li>Dick Tomasovic, Universit\u00e9 de Li\u00e8ge (Belgique)<\/li>\n<\/ul>\n<h2>Notes<\/h2>\n<p>1 Gombeaud Adrien, <em>S\u00e9oul Cin\u00e9ma. Les origines du nouveau cin\u00e9ma cor\u00e9en<\/em>, Paris, L\u2019Harmattan, 2006, p. 78-81.<\/p>\n<p>2 Coppola Antoine, <em>Dictionnaire du cin\u00e9ma cor\u00e9en<\/em>, Paris, Nouveau Monde, 2021.<\/p>\n<p>3 Mentionnons \u00e0 titre d\u2019exemple le num\u00e9ro 597 (janvier 2005) des <em>Cahiers du cin\u00e9ma<\/em>, dans lequel le dossier d\u00e9di\u00e9 au cin\u00e9ma sud-cor\u00e9en se compose de portraits de cin\u00e9astes comme Im Kwon-taek ou Kim Ki-duk, et d\u2019un article consacr\u00e9 au \u00ab&#160;nouveau thriller&#160;\u00bb sud-cor\u00e9en alors en plein essor. Voir Vincent Malausa, \u00ab&#160;Le nouveau thriller&#160;\u00bb, <em>Cahiers du cin\u00e9ma, <\/em>janvier 2005, no. 597, p. 29.<\/p>\n<p>4 Odin Roger, <em>Les espaces de communication. Introduction \u00e0 la s\u00e9mio-pragmatique<\/em>, PUG, coll. \u201cCommunication en +\u201d, 2011<\/p>\n<p>Kim Kyung Hyun, <em>The Remasculinization of Korean Cinema<\/em>, London, Duke University Press, 2005.&#160;; Jung Sun, <em>Korean Masculinities and Transcultural Consumption&#160;: Yonsama, Rain, Oldboy, K-Pop idols<\/em>, Hong Kong, Hong Kong University Press, 2011.<\/p>\n<p>6 Kim Molly Hyo, \u201cGenre Conventions of South Korean Hostess Films (1974\u20131982)&#160;: Prostitutes and The Discourse of Female Sacrifice,\u201d <em>Acta Koreana<\/em>, vol. 17, no. 1, 2014, p. 455-477.<\/p>\n<p>7 Park Jane Chi Hyun, \u201cFighting Women in Contemporary Asian Cinema,\u201d <em>Cultural Studies<\/em>, vol. 27, no. 2, 2013, p. 242\u2013256.&#160;; An Ji-yoon, \u201cThe Korean Mother in Contemporary Thriller Films&#160;: A Monster or Just Modern&#160;?,\u201d <em>The Journal of Japanese and Korean Cinema<\/em>, vol. 11, no. 2, 2019, p.154-169.<\/p>\n<p>8 Baek Moon-Im, <em>W\u014flha \u016di y\u014fgoks\u014fng <\/em>(<em>Lamentations d\u2019une femme sous la lune<\/em>), S\u00e9oul, Ch&rsquo;aek sesang, 2008.&#160;; Kim Soyoung, \u201cQuestions of Women\u2019s Film&#160;: <em>The Maid<\/em>, <em>Madame Freedom<\/em>, and <em>Women<\/em>,\u201d in McHugh Kathleen and Abelmann Nancy (dir.), <em>South Korean Golden Age Melodrama&#160;: Gender, Genre, and National Cinema<\/em>, Detroit, Wayne State University Press, 2005, p. 185-200.<\/p>\n<p>9 Yu Gina, \u201cImages of Women in Korean Movies,\u201d in Kim Mee-hyun (dir.), <em>Korean Cinema from Origins to Renaissance<\/em>, CommBooks, 2006, p. 261-268.&#160;; Yi Sunjin et Joo Jin-sook, <em>Y\u014fnghwa han\u016dn y\u014fjad\u016dl <\/em>(<em>Les femmes qui fabriquent des films<\/em>), Seoul, Sagyej\u014fl, 2020..<\/p>\n<p>10 Sohn Hee Jeong, <em>Tangsini k\u016drin uju r\u016dl poatta <\/em>(<em>J\u2019ai vu l\u2019univers que vous aviez dessin\u00e9<\/em>), S\u00e9oul, Ma\u016dm sanch&rsquo;aek, 2021, p. 199.<\/p>\n<p>11 Kim Sukhy\u014fn, \u00ab&#160;Y\u014fs\u014fng y\u014fnghwa kamdok \u016di y\u014fkhal suhaeng kwaj\u014fng kwa silch\u2019\u014fn \u016di kujo (le processus et la structure de la pratique des r\u00e9alisatrices de films)&#160;\u00bb, <em>\u014ellon kwa sahoe<\/em>, vol. 26, no. 1, 2019, p. 81.<\/p>\n<p>12 Hong Sora. \u00ab&#160;The Introduction of Female Filmmakers into the South Korean Film World in the 1990s&#160;\u00bb. 30e conf\u00e9rence de l\u2019Association pour les \u00c9tudes cor\u00e9ennes en Europe, Universit\u00e9 de La Rochelle, La Rochelle (31 octobre 2021)<\/p>\n<p>3 Park Nohchool, \u201cUndomesticated Visions&#160;: A History of South Korean Independent Women`s Films, 1974\u2013 2004,\u201d <em>Korea Journal<\/em>, vol. 49, no. 4, 2009, p. 135\u2013162.&#160;; voir \u00e9galement le dossier \u201cSouth Korean Cine- Feminism on the Move\u201d sous la direction de Park Hyun Seon dans <em>Journal of Japanese and Korean Cinema<\/em>, vol. 12, no. 2, 2020 et le documentaire de Han\u2019guk Y\u014fngsang Charyow\u014fn (Korea Film Archive), <em>Women on screen&#160;: understanding Korean society and women through films <\/em>(2012).<\/p>\n<h2>Bibliographie indicative<\/h2>\n<h4>Ouvrages<\/h4>\n<p>Coppola Antoine, <em>Dictionnaire du cin\u00e9ma cor\u00e9en<\/em>, Paris, Nouveau Monde, 2021.<\/p>\n<p>Baek Moon-Im, <em>W\u014flha \u016di y\u014fgoks\u014fng <\/em>(<em>Lamentations d\u2019une femme sous la lune<\/em>), S\u00e9oul, Ch&rsquo;aek sesang, 2008. Gombeaud Adrien, <em>S\u00e9oul Cin\u00e9ma. Les origines du nouveau cin\u00e9ma sud-cor\u00e9en<\/em>, Paris, L\u2019Harmattan, 2006<\/p>\n<p>Jeong Kelly Y., <em>Crisis of Gender and the Nation in Korean Literature and Cinema&#160;: Modernity Arrives again<\/em>, Lanham, Lexington Books, 2011.<\/p>\n<p>Jung Sun, <em>Korean Masculinities and Transcultural Consumption&#160;: Yonsama, Rain, Oldboy, K-Pop idols<\/em>, Hong Kong, Hong Kong University Press, 2011.<\/p>\n<p>Kim Kyung Hyun, <em>The Remasculinization of Korean Cinema<\/em>, London, Duke University Press, 2005.<\/p>\n<p>Sohn Hee Jeong, <em>Tangsini k\u016drin uju r\u016dl poatta <\/em>(<em>J\u2019ai vu l\u2019univers que vous aviez dessin\u00e9<\/em>), S\u00e9oul, Ma\u016dm sanch&rsquo;aek, 2021.<\/p>\n<p>Yi Sunjin et Joo Jin-sook, <em>Y\u014fnghwa han\u016dn y\u014fjad\u016dl <\/em>(<em>Les femmes qui fabriquent des films<\/em>), Seoul, Sagyej\u014fl, 2020.<\/p>\n<h4>Articles de p\u00e9riodiques<\/h4>\n<p>An Ji-yoon, \u201cThe Korean Mother in Contemporary Thriller Films&#160;: A Monster or Just Modern&#160;?,\u201d <em>The Journal of Japanese and Korean Cinema<\/em>, vol. 11, no. 2, 2019, p.154-169.<\/p>\n<p>Berry Chris, \u201cA Woman\u2019s Korea&#160;: <em>Vertigo<\/em>, Women, and Work in South Korean Cinema\u201d, <em>Film Quarterly<\/em>, vol. 74, no. 4, 2021, p. 31-35.<\/p>\n<p>Chu Beatrix , \u201cA Long Road for Women Directors in South Korea&#160;: NYAFF\u2019s Female-led Korean Films and the Ongoing Struggle for Gender Equality,\u201d <em>Filmmaker<\/em>, no. 21, 2021.<\/p>\n<p>Coppola Antoine, \u00ab&#160;St\u00e9r\u00e9otypes des femmes dans les films sud-cor\u00e9ens et nord-cor\u00e9ens&#160;\u00bb, <em>Soci\u00e9t\u00e9s<\/em>, vol. 115, n<sup>o.<\/sup> 1, 2012, p. 41-50.<\/p>\n<p>Kim Molly Hyo, \u201cGenre Conventions of South Korean Hostess Films (1974\u20131982)&#160;: Prostitutes and The Discourse of Female Sacrifice,\u201d <em>Acta Koreana<\/em>, vol. 17, no. 1, 2014, p. 455-477.<\/p>\n<p>Kim Sukhy\u014fn, \u00ab&#160;Y\u014fs\u014fng y\u014fnghwa kamdok \u016di y\u014fkhal suhaeng kwaj\u014fng kwa silch\u2019\u014fn \u016di kujo (le processus et la structure de la pratique des r\u00e9alisatrices de films)&#160;\u00bb, <em>\u014ellon kwa sahoe<\/em>, vol. 26, no. 1, 2019.<\/p>\n<p>Malausa Vincent, \u00ab&#160;Le nouveau thriller&#160;\u00bb, <em>Cahiers du cin\u00e9ma, <\/em>num\u00e9ro 597, janvier 2005.<\/p>\n<p>Nam In-young and Lee Nam, \u201cConstruction of the female self in South Korean feminist documentaries <em>Family Project&#160;: House of a Father <\/em>(2001) and <em>The Two Lines <\/em>(2011),\u201d <em>Journal of Japanese and Korean Cinema<\/em>, vol. 12, 2020, p. 124-137.<\/p>\n<p>Park Jane Chi Hyun, \u201cFighting Women in Contemporary Asian Cinema,\u201d <em>Cultural Studies<\/em>, vol. 27, no. 2, 2013, p. 242\u2013256.<\/p>\n<p>Park Hyun Seon, \u201cSouth Korean Cine-Feminism on the Move,\u201d <em>Journal of Japanese and Korean Cinema<\/em>, vol. 12, 2020, p. 91-97.<\/p>\n<p>Park Nohchool, \u201cUndomesticated Visions&#160;: A History of South Korean Independent Women`s Films, 1974\u2013 2004,\u201d <em>Korea Journal<\/em>, vol. 49, no. 4, 2009, p. 135\u2013162.<\/p>\n<p>Raymond Marc, \u201c<em>Women Stripped Bare <\/em>&#160;: Rapes in the Film of Hong Sang-soo,\u201d <em>Canadian Journal of Film Studies<\/em>, vol. 26, n<sup>o.<\/sup> 1, 2017, p. 45-63.<\/p>\n<p>Sim Hyekyong, \u201cActing \u2018like a woman\u2019&#160;: South Korean female action heroines,\u201d <em>Journal of Japanese and Korean Cinema<\/em>, vol. 12, 2020, p. 110-123.<\/p>\n<p>Sohn Hee Jeong \u201cFeminism reboot&#160;: Korean cinema under neoliberalism in the 21st century,\u201d <em>Journal of Japanese and Korean Cinema<\/em>, vol. 12, 2020, p. 98-109.<\/p>\n<h4>Chapitres d&rsquo;ouvrages collectifs<\/h4>\n<p>Nam In-young, \u201cKorean Women Directors,\u201d in Kim Mee-hyun (dir.), <em>Korean Cinema from Origins to Renaissance<\/em>, CommBooks, 2006, p. 161-168.<\/p>\n<p>Kim Soyoung, \u201cQuestions of Women\u2019s Film&#160;: <em>The Maid<\/em>, <em>Madame Freedom<\/em>, and <em>Women<\/em>,\u201d in McHugh Kathleen and Abelmann Nancy (dir.), <em>South Korean Golden Age Melodrama&#160;: Gender, Genre, and National Cinema<\/em>, Detroit, Wayne State University Press, 2005, p. 185-200.<\/p>\n<p>Yu Gina, \u201cImages of Women in Korean Movies,\u201d in Kim Mee-hyun (dir.), <em>Korean Cinema from Origins to Renaissance<\/em>, CommBooks, 2006, p. 261-268.<\/p>\n<h4>Actes de colloques<\/h4>\n<p>Hong Sora. \u00ab&#160;The Introduction of Female Filmmakers into the South Korean Film World in the 1990s&#160;\u00bb. 30e conf\u00e9rence de l\u2019Association pour les \u00c9tudes cor\u00e9ennes en Europe, Universit\u00e9 de La Rochelle, La Rochelle (31 octobre 2021)<\/p>\n<h4>Audiovisuels<\/h4>\n<p>Han\u2019guk Y\u014fngsang Charyow\u014fn (Korean Film Archives), <em>Women on screen&#160;: understanding Korean society and women through films<\/em>, film documentaire, 2012.<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-attachedfiles\">\n<h3 class=\"zn-singledetail-section-title\">Fichier(s) attach\u00e9(s)<\/h3>\n<ul class=\"zn-singledetail-attachedfiles-list\">\n<li class=\"zn-singledetail-attachedfiles-item\">\n\t\t\t\t\t\t\t<a class=\"zn-singledetail-attachedfiles-link button outline for-download\" href=\"https:\/\/www.sfsic.org\/wp-inside\/uploads\/skp-membership\/demande_adh\/aac-je_cinema-sud-coreen-et-femmes_2023.pdf\" title=\"T\u00e9l\u00e9charger : \u00ab aac-je_cinema-sud-coreen-et-femmes_2023.pdf \u00bb\" target=\"_blank\" rel=\"noopener\"><br \/>\n\t\t\t\t\t\t\t\t<span class=\"button-txt\">AAC\u2014 JE_Cin\u00e9ma sud-cor\u00e9en et femmes_2023<span class=\"button-txt-type\"> (pdf)<\/span><\/span><br \/>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-keywords\">\n<h3 class=\"zn-singledetail-section-title\">Mots-cl\u00e9s<\/h3>\n<ul class=\"termslist 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