Korean and japanese cinema

IntroductionThe emergence of the lacquerese film industry could be dated derriere to the year 1898 through the emergence of the silent films whereas the Korean films that the Koreans produced started since the year 1919 (Paquet, 2007) This essay would then focus on Korean directors purpose of wo hands to elicit policy-making and social implications. Firstly, these depictions could intensify the ever-changing roles of the women in Korean bon ton and secondly, it could elicit reactions from both(prenominal) the female and male listening. In the hopes of just deepening these implications, a view on Japanese women would also be used as a comparison.Korean view on women in society and the Directors perspective on principal ladiesFrom the Confucian exemplification of a woman is depicted through the main role of women is to be prepared in becoming a wife and a female parent (Paik, 1998). Nowadays, Korean women are entering the working sphere of the country whereas in the beginnin g it was limited to the male species. The directors then would like to highlight the women in a movie especially when the social changes are much concerned with the women of the society. These depictions could bugger off forth the reactions from both the female and male viewers.An example on the changing view of womens role in society is through the film, YMCA Yagudan or YMCA Baseball Team where the leading ladys character is depicted to be modernized and she had a major influence on the leading man.Japanese view on women in society and the implication on societal changes resembling the Koreans changes and the directors depiction for these changesLike the Korean women, Japanese women are confined to what is known to be the private sphere. The duties then lie on the mens shoulders to tender for the family. The Japanese view on women then bit by bit changed by using what is known to be the private sphere or domain where women belongs to a more public domain and become a way to se e that the private sphere in the form of the fellowship is matriarchal in nature (Friedman, 1992).It could be seen in the Japanese film, Hotaro no haka or Grave of the Fireflies that the male main character had the burden to provide for his babe, the female main character. Nonetheless, the changing role on women in Japan then could be seen through the changes that the two siblings had to undergo in establish to survive and breaking free from the usual connotation of the family structure would be a leeway for the changes to be realized (Jubei, 1995). In a way, both the sibling depicts the changes in societal perspectives by escaping the society imposition of what they ought to do. The sister along with the brothers pride became the motivations in running away.ConclusionWhat could be inferred from all these claims is that the leading ladys role in a film could be a way to see the social changes and the political stands. In a Korean film, it could elicit reactions from both the wome n and men. Another rationality is that highlighting the women predicament in a film could make the audience see the societal changes in womens role.ReferencesFriedman, S. (1992). Women in Japanese confederacy Their changing Roles. Retrieved August 27, 2007, from http//www2.gol.com/users/friedman/writings/p1.htmlJubei, Y. S. (1995). Hotaro no Haka (Grave of the Fireflies). Retrieved August 24, 2007, from http//www2.hawaii.edu/dfukushi/Hotaru.htmlPaik, Y.-J. (1998). Womens Development and knowledge on Women in Korea. Retrieved August 24, 2007, from http//www.ifla.org/IV/ifla64/112-122e.htmPaquet, D. (2007). A Short bill of Korean Film. Retrieved August 27, 2007, from http//www.koreanfilm.org/history.html