Group 5 : Four Faces of Han

Group1: Back in Orange

Group 2 presents "B-Boy: Breaking Tradition"

Group 3 - Final Cut

Changing Faces

POONGRYU GROUP4 :)

0

Group 1 Rough Cut

Second Draft Meetings

Here is the schedule for the team meetings.

Wednesday July 25th

9am -940am - Group 3

940am - 1020am - Group 4

1020am - 11am - Group 5

11am- break

1110am - 1150am - Group 1

1150am - 1230pm - Group 2

Please render your second draft according to the instructions for the rough cut.  Details are available on our class blog.

Professor Guest, Professor Chung and Bertrand Laurence are available to meet with you throughout the week by appointment.

Group4 Roughcut

Group 5 - Working Title: Han-munee

GROUP 3 - ROUGH CUT

Rough Cut Guidelines

Rough Cuts

Due Monday July 23^rd 9am.

900 am - Group 5

940am - Group 4

1020am - Group 3

1100am - Break

1110am - Group 2

1150am- Group 1

1230pm - conclude

• Anyone in the class is welcome to attend other groups' sessions for these rough cut critique sessions.

• Please have your EXPORTED rough cut video file ready to show on a PORTABLE EXTERNAL HARD DISK. We will try to project each project from a laptop which will be connected to projector.

• Keep in mind that exporting video takes time.  Do not wait until the last minute to export your video. We will be playing your exported video file.  Please do NOT bring your file to show from the timeline of the Premiere program, this is unacceptable. Rough cuts that are not exported in the correct file format will be considered incomplete.

• Please be ready to go at your appointed time. Attendance is required. Bring a notebook for recommendations and changes.

• When you have finished your editing EXPORT MEDIA.

Format is H.264

Preset is HDTV 720p29.97HighQuality

Save the file as "YOURGROUP-ROUGHCUT.mp4"

Bring this file to class.

Post a low res  iPad version to the blog by 6pm.

GUIDELINES

A “rough cut” is a preliminary edited version of your project. The most important criteria of the rough cut is the timing.  

LENGTH – 10 minutes. You should layout your ENTIRE film from beginning to end using the complete 10 minutes.

PHOTOGRAPHY - remember to keep up with your excellent photography, good composition, sharp focus and rock steady camera work

FOCUS on your main story, keep things moving along.  Each shot should have a moving element, whether it is the camera or the main action. Think of a dynamic way to start your film, something to grab the attention of the viewer conceptually or visually.

SUBTITLES - required at this time.

SOUND and MUSIC - should be mixed and is an integral part of the rough cut

1.     

2.     TITLES (Optional) – Do not include titles at this time, if you have not decided on a title.  Titles should be short, maybe one or two cards at the beginning of the film. The text from the readings is required whether it is spoken or displayed as text.

3.     CUTS ONLY – Only use cuts for editing.  Dissolves can be used sparingly. Do not use any special effects, filters, etc.

Christian Carvajal & Seung Hye Shin: Project 2

Yena and Gabby Second Project

Janin and Dahye Assignment 2

Inspiration: Hongang #774 and Kyerang #1701, page 56 of Early Korean Literature by Professor David R. McCann.

Mountain Temple: Terrence McKenna & Hyunji Lee

Assignment 2 - Moonyoung Park & Bo Kyeong Kwon

2nd Project // Sun Woo Nam & Stephan Valentin

TO THE MASTER OF KUMCHON TEMPLE

In white clouds by the stream's edge you built this shrine.

Thirty years now since you came here, and still you stay.

Smiling, by the gate you show the way suddenly before me.

Descending the mountain, it ravels into a thousand different paths.

Ch'oe Chi'i-won(9th c.)

Second Assignment Eun Young Seo and Roberto Perez

Assignment2- KimHyun & LimYulri

:)

Treatment

Treatment

Due Wednesday 7/18 at 7pm.

A treatment is an outline or a narrative description of a film project using non-technical language. A treatment is used by film’s creator or producer to attract interest in the project.

For your treatment, please prepare a one-page description of your project.

Your treatment should introduce your topic to the reader.  It should describe the story of the main characters (if appropriate), the history of the topic and a description of the location. The treatment should follow the trajectory of your narrative. Describe how your project will begin and then how it will proceed.  End you treatment with a concluding statement about your topic.

Your treatment should include a description of how are employing the text from our readings as well as any visual and aural (sonic and/or musical) aspects of the film.

Develop a title for your project.  The title can be in Korean or English.  If you have not decided on the title at this time, use a “working title”.

List your group number and members’ names. In addition list anyone that you plan to interview.

Your treatment should be a dynamic and exciting description, however, it is important that you do not use overly flowery language.  Avoid making impossible claims that your film will achieve. As an example, “this ground breaking film will reveal …”


Submit your treatment to the blog and print out 3 copies, one each for Bertrand, Haden and me.

Assignment 2 - Eun Ji Kim, and Gloria J Hong

Our film is based on the sijo by Chung Cheol,
The one which portrays a woman's sorrow of raising her child, living as a woman in past Korea.
This film is a story of a store owner at Andong Village, and she talks about the past and present positions woman hold in a Korean family, and how the life is different.

2nd Assignment-JiyeonKim and JungyoonBae

We were inspired by Yi Hwang's sijo “Dosansipyigok(도산십이곡)”.

To depict landscapes shown in the sijo, which perhaps Yi Hwang himself appreciated when he was stayed in Andong, we took Dosan sowon as our portrait subject. As we were taking shots of Dosan sowon, we felt like we could feel what Yi Hwang felt in the past time. Then, Andong folk village where our ancestors' lives still remains, made us to feel Yi Hwang's humble life, at least indirectly, since that village is quite far from modern secular-or industrialized-Koreans' lives. Yi Hwang himself also rooted in Andong area, so we felt descriptions of 도산십이곡 are closely related to Andong folk village. These are the reason why we chose Dosan sowon and Andong folk village as our subjects of portrait.

Assignment Two Guidelines

Harvard Summer School 2012
Cinema Korea

Assignment Two Guidelines - Portrait with Text
Due Monday July 16 8pm.
Approximate duration: 2 minutes
Work in pairs, one film project per pair will be submitted.


Select a text from the readings in the ELK. This could be a section from a Sijo or Gasa poem.  Use this text as an inspiration for your video. The relationship of the text to the video is open to your interpretation. As an example, you could begin your video with the text in written form to set the tone or mood for your work. Or you could have someone read a poem with related video imagery.  The text can be an integral part of your video or it may have a more tangential relationship.

Choose to create a portrait of a person or a place as the main focus of your video work.

If you choose a to make a portrait of a person, talk to the person first to find out about what they do, write down questions you might ask in an interview or shots you would take that would build the portrait. Plan your video shoot.

If you choose to make a portrait of a place, choose a place such as a temple, palace, shop, restaurant or other specific locale.  Observe the place to see what goes on and take notes on what characteristics might be used to visually (and sonically) describe it. Plan your shoot.

Keep in mind that this is still considered an exercise type of assignment. The purpose of the assignment is to develop your skills in building scenes and telling a story (narrative of non fiction). Most likely you will be working in non fiction.

Stay on course with good photography, focus, composition and lighting.  Try to have people, objects or shots that are moving in each shot.

The faculty will be with you during the excursion so we will be able to discuss the progress of your projects. Work in pairs for this assignment, however begin to discuss your final group project together with your team mates. On Monday July 16th, each team will present their ideas to the faculty. During the excursion we will have opportunities to discuss the development of the final projects.

VEREDAS on-line discussion

Please select and answer THREE of the four questions below about João Cesar Monteiro’s film VEREDAS. Your responses should be at least one full paragraph in length and should thoughtfully examine specific examples from the film.

1. What are some of the different strategies used in VEREDAS to present and explore Portuguese legends and folklore? And what are some of the specifically cinematic means engaged by Monteiro?

2. What are some of the common themes or ideas explored within the myths, legends and folk tales that unfold in VEREDAS? What do we learn about the narrative logic and imagination of Portuguese folklore? In what ways do song and music offer a counterpoint to or extension of the myths gathered in VEREDAS?

3. What do you make of the title VEREDAS, which literally translates as “paths”? What kind of journey is described in the film, and to what purpose? What kind of image does the film give of Portugal? Keep in mind Park Kwang-su’s original inspiration for TO THE STARRY ISLAND, his almost anthropological project to explore the realm of traditional Korean culture. Considered from this perspective, what connections can you make between João Cesar Monteiro and Park’s respective projects?

4. The frightening final story which closes VEREDAS (the dark tale of a couple torn asunder by a despotic landlord who enslaves the young man and sires a daughter with the young woman before driving her out into the wild) makes explicit commentary on the then present-day Portugal, the fall and legacy of the Salazar dictatorship, commented upon through the figures of the priest and landlord and their shared embrace of violence (as well as the carnations on the dinner table which reference the "Carnation Revolution" of April 1974 which took place during the film's production). Thinking about both this final story and VEREDAS as a whole, what kind of argument does Monteiro offer about myths and their relationship to Portuguese culture and history?

Moonyoung Park 1st project

Gabby Walti First Project

1st assignment, Hyun Kim

:)

First Project, Roberto Perez

Christian Carvajal: Project 1

Bae, Jung-Yoon : 1st assignment

< journey to find innerpeace >

p.s I apologize unreservedly for any offence i have caused.

Stephan Valentin : First Project

Assignment 1: BO KYEONG KWON

Hyunji Lee 1st assignment

Yulri Lim-first assignment

McKenna: Birds and Bees

Eun-young Seo First Assignment

Gloria Hong Assignment 1

Jiyeon Kim first assignment

Indifference

Dahyekoo 1st assignment

From Ewha to Sinchon
People walking

Yena Lee_First Assignment

Janin Alfonso First Assignment

Sunny Nam First Assignment

Sunny(Sun Woo) Nam First Assignment

Seung Hye Shin 1st Assignment

Eunji Kim 1st Assignment

Readings in Early Korean Literature, Selections and Introductions

• Readings in Early Korean Literature, Selections and Introductions 
Second Round, Week of July 9, to be completed by Sunday July 8, 6 pm


For discussion (and further notes):  What do the stories seem to be about?  Are there themes that connect Lady Suro with the story of Ch'ôyong and then in turn to the story of King Mu, pp. 18-24?  Characters?  Types?  Materials?  Issues?  Cultural practices?  Other?
What were the circumstances of the compilation itself?  Who wrote the stories down?  When?  And can we infer, why?


Re the story of Ch'oyong and the role of women, see pp 101-122, esp the last two pp, 121-122, and the retelling of the story, 112-114.  How does that get set up?  Does it work, to bring the woman to center stage?


Hyun Kim raised a set of Questions re 단심가.  I'd note additionally p 32 in EKP for the two sijo, 145-147 for more on the two sijo, pp 38-40 for the 고려사 account of Cheong's death at the hands of T'aejong, and 145-147 for more on the sijo and the phrase 일편단심 in the Story of Ch'unhyang.

Test Video

TO THE STARRY ISLAND discussion questions

Hello everyone,

Please prepare TWO questions of your own about TO THE STARRY ISLAND to ask Director Park Kwang-su. We will begin tomorrow’s discussion with a round-table discussion before opening to questions from you. Please note that there may not be time for everyone to ask a question, so with that in mind, I’d also like receive copies of your questions before class tomorrow. So please send to hguest@fas.harvard.edu

See you tomorrow!

TO THE STARRY ISLAND on-line discussion

TO THE STARRY ISLAND on-line discussion

In preparation for tomorrow's visit from and discussion with Park Kwang-su, please post a thoughtful answer of at least two paragraphs to ONE of the following questions about TO THE STARRY ISLAND:

1.     At the time of its release TO THE STARRY ISLAND was considered path-breaking for depicting events surrounding the Korean War, long considered a taboo subject for South Korean cinema. What seems special or even unusual in the film’s representation of Korea during this extraordinarily tumultuous and traumatic period of its history? And what sort of argument does the film seem to make about the war and its aftermath? Please engage specific examples from the film.

2.     Please discuss the evocative presence in TO THE STARRY ISLAND of traditional Korean culture and beliefs such as folk music, shamanism and patriarchal village hierarchy. What role do these cultural forms- and their pointed depiction within the film- play in TO THE STARRY ISLAND’s complex intertwining of past (both personal and historical) and present? 

Readings in Early Korean Literature, Selections and Introductions

• Readings in Early Korean Literature, Selections and Introductions

First Round, to be completed by Monday July 2, 5pm

Reading: EKL Preface, xi-xiii; A Brief History of Korean Literature to the Nineteenth Century, 1-10; Samguk Sagi, Samguk Yusa, 13-24; EKL Part 2, Negotiations in Korean Literature, and Ch’ôyong and Manghae Temple, 99-122

Notes and summary:  As you read, please make notes on passages, characters, incidents, or other matters that catch your attention, and explain why they did.

Second, what can you find out about Korea's historic society, cultural practices, issues or concerns?  What was it like in Korea back then?

Summarize your notes in a one or two-page response and post it to the correct COMMENTS section of the POST on the class blog/web site by Monday July 2, 5pm. so we can get a sense of your encounters with the Samguk Yusa and related historical materials. 

Note about posting:  It is encouraged that you post between 4:30 and 5pm on Monday, July 2nd. Comments posted after 5pm will be considered late. You should write out your response well before the post time in another program such as MS Word or Text Edit and then copy and paste it to the COMMENTS area below.  Please do NOT create a new post. Please remember the honor system, do not read other comments before posting your comment. Thank you.

Assignment 1 - Shooting for a Sequence

Cinema Korea

Assignment 1

Due Monday, July 2^nd, 10am.

Shooting footage for a sequence.

Plan and shoot footage for a two-minute video sequence. The sequence should convey a specific activity or a place. Examples of activities are people shopping, people going to work, going to a restaurant.  Examples of a place are a subway station,  a temple, a market or a historic location. The idea behind the assignment is to plan out what shots you would need to show your core concept. Think about the establishing shot, the medium and then the detailed shots. Consider how one shot leads to another to make a sequence.  How can you lead the viewer to the world you are describing.

A sequence is made from shots.  Shots can vary in length from a few seconds to 10 seconds. The sequence will have a minimum of 15 shots. Shooting ratios can vary from 3:1 to 10:1.  Shooting 10:1 is in the high range. A shooting ratio is shots taken to create the final sequence.

You will work in pairs for this assignment.

Step One – Observe the activity or/and visit the location. Study what’s going on and how it might be broken down into a series of shots.

Step Two - Plan your shoot with your partner.  What do you want to convey?  You may want to write down your ideas and a brief outline to help you with the project.

Step Three –  Shoot your material.  Remember to check your settings on the camera. Keep track of your shots by “slating” or writing them down in your notebook.

Bring your footage to class on Monday.  We will demonstrate how you download the footage and edit them in Adobe Premiere.

Criteria.  The main criteria is ho w well you are able to convey your ideas and the quality of your camerawork and sound. Your shots should be in focus and use the ideas behind composition, lighting and depth of field as discussed in class and shown in the class examples. All the shots do need to have a shallow depth of field, however you should have examples.

Sound: no distortion, level should be metering around 12, top end hitting in the yellow. If it’s hitting constantly in the red, your recordings are too hot.

Your project will be evaluated after it has been edited.

Exercise 1

Exercise for Thursday

Please take turns with the camera equipment. Always go in pairs.

Each student

Record 5 scenes each.

1. 3 examples of depth of field

2. example of composition rule of thirds, an empty space and an object

3. example of lines or patterns

Good sound, no distortion.

HSS 2012 Cinema Korea Syllabus

VISU S-194    CINEMA KOREA: ENGAGING KOREAN CULTURE THROUGH FILM

Seoul, Korea 2012

Instructors:

David Chung, University of Michigan

Haden Guest, Harvard University

David McCann, Harvard University

Bertrand Laurence, Technical Advisor

Yubi Kwon, Teaching Assistant

Class time and location:

10am – 12noon, Monday through Thursday except as indicated

Ewha University, IEB Building Room 1002 except as indicated

This course combines a critical and practical introduction to filmmaking, using historical Korean theatre scripts as subject and inspiration. Students will study a range of different theoretical and historical approaches to filmmaking, guided by weekly screenings and close discussion of key examples of different styles and approaches to cinematic engagements with historical literature, cultural traditions and myth- from period costume dramas to investigative documentaries to avant-garde and experimental interpretations of the past. At the same time, students will also learn the basics of digital filmmaking through weekly instructional sessions focused on the basics of camera operation, editing, sound and post-production.  This ‘practical learning’ will then be applied to a study of stories from a 13^th century Korean compilation known as Remnants of the Three Kingdoms; in Korean, Samguk Yusa.

For one week the class will travel down to the city of Ulsan, famous now as the location of the Hyundai shipyard and automobile manufacturing plants, but historically a key region of interactions with the worlds beyond Korea’s shores.  Students will apply their new skills and knowledge through video assignments, experimenting with different approaches to engaging and interpreting historical drama, theatre, and music as ways to explore Korean culture and history while also registering their present-day resonances.  Far more than practical or technical exercises, this extended "field trip" project will engage a series of questions which will be debated and discussed throughout the class. What are the possibilities and limits of the cinema as a way to interpret and understand the complexities and contradictions of 21st century Korea? How has film traditionally grappled with capturing not only the readily visible dimensions, but also the “invisible” experiential dimensions of cultural life?  How did historical texts such as the Samguk Yusa seek to accomplish similar objectives?  How, finally, can the 13^th century scripts and such 21^st century cultural phenomena as the Korean Wave be made to illuminate each other?

Course requirements and goals:

Your first requirement is attendance at all weekly screenings (TBA) and discussion seminars, production workshops and weekly film production group assignments which will involve field recording sessions (outside the classroom). Any unexcused absence from any of these will count against your grade. If you have a legitimate emergency of some sort that requires you to miss a class or screening, please be in touch with either David Chung or the class Teaching Assistant before the start of class and please provide a clear explanation. Being too overwhelmed with work for another class is not a valid excuse. Any health or medical excuse must be accompanied by a message from your doctor.

The weekly screenings are mandatory. Since each screening will be accompanied by a extended introduction of the weekly films and will often include in person appearances by celebrated Korean filmmakers, simply watching the films by yourself is not the same. You are encouraged, however, to view the films more than one time, if you are interested and for this purpose screening copies of all the films will be on reserve at the library.

In addition to active participation in the discussion seminars in which we will discuss the films viewed and their relationship to your film projects, you will also be required to keep a weekly viewing journal, reflecting on the films you have seen in class. All of you have learned the importance of taking careful notes as you read course texts, underlining and jotting down questions and relevant ideas. It is equally important to take notes as you watch the films that constitute the primary texts of this course. With this in mind, you are required to keep a weekly viewing journal, writing down your observations and questions about each of the films you have seen and providing no less than 300 words per title. Hard copies of the viewing journal, which should be lose leaf paper (rather than a bound notebook), must be turned in at the start of each discussion seminar.

The film production half of the course is comprised of hands-on workshops in digital video production and editing in a professional environment.  Students will learn how to operate a video camera, manually adjust white balance, shutter speed, aperture and focus. Shooting techniques and frame composition will also be explored, such as close-ups, wide shots, point of view and shots where the camera is moving.  The special lighting needs of the video cameras as well proper sound and voice recording will be demonstrated and taught. Subsequently students are shown how to capture the film, log and transcribe the footage. After the footage has been captured, students will learn basic digital video editing and additional post-production techniques such as mixing sound and creating titles.

Throughout the course, core concepts in filmmaking methodology will be introduced, with different modes of storytelling, using a scripted narrative as well as experimental methods of documenting, explored through individual and group assignment.  Students will work in groups to develop a story idea, plan the shoot and see the project to completion.

Some examples of film production assignments and exercises which will be included in the course are:

·       The Video Portrait with Text (2 minutes). In this assignment students create a video portrait of a selected person or classmate to learn methods of describing a concept through filmic techniques.  After the initial interview, cutaway or B-roll shots are taken to edit with the core footage.

·       Shooting for Editing: Cause and Effect (2 minutes). One of the central ideas of working in a time-based medium is keeping the viewer engaged through a sequence of images and developing a film vocabulary.  Through an exercise in shooting a series of images students learn how one image affects the next one in the sequence and how the viewer might anticipate the chain of events. This is referred to as montage (or film editing).

The main project is an approximately ten minute film that will be divided into three sections. In the first section students will research and develop a story idea of their own choosing.  Each group will then plan their shooting schedules and gather the necessary still image, sound and footage files. In the final section the groups will produce their films using the techniques learned during the course.

On the third week of the summer session, the entire class will participate in an excursion to visit important historical and cultural sites in Korea.  All the travel arrangements will be made for you. A detailed itinerary and trip guidelines will be made available. We will be visiting the southern port city of Ulsan, the former capital city and cultural center of Gyeongju and the historical city of Andong. Travel will be made by chartered bus and lodging at hotels and inns. The faculty and staff will be present during the trip. Video shooting and sound recording assignments will be made in relation to course content during this excursion.

Preliminary Schedule

All classes meet in Room 1002 unless otherwise indicated. The schedule is subject to change, any changes will be announced as soon as information is available. This schedule pertains to the Cinema Korea course.  Please refer to your other schedules for language classes, excursions and outside activities.

WEEK 1. JUNE 25 - 29.

Introduction to filmmaking methodology and the equipment

TUESDAY, JUNE 26 – 10 am to 12pm

• Introduction to the course and filmmaking

- from idea to production

- how to layout a project

- types of projects

• Framing a shot, composition

                                   

• Readings in Early Korean Literature, Selections and Introductions

First Round, to be completed by Monday July 2

Reading: EKL Preface, xi-xiii; A Brief History of Korean Literature to the Nineteenth Century, 1-10; Samguk Sagi, Samguk Yusa, 13-24; EKL Part 2, Negotiations in Korean Literature, and Ch’ôyong and Manghae Temple, 99-122

Notes and summary:  As you read, please make notes on passages, characters, incidents, or other matters that catch your attention, and explain why they did.

Second, what can you find out about Korea's historic society, cultural practices, issues or concerns?  What was it like in Korea back then?

Summarize your notes in a one or two-page response and post it to the correct section on the class blog/web site by Sunday July 1, 11pm. so we can get a sense of your encounters with the Samguk Yusa and related historical materials. In class, we will discuss how the class blog will be used. In some cases these responses will be emailed directly to Professor David McCann.

12 pm - Welcoming Ceremony and Lunch

4:30pm - Mandatory software/tech session  

• Software will be distributed

•  Camera kits will be distributed

WEDNESDAY, JUNE 27 -  10 am – 12pm

• Using the equipment part 1 – hands on workshop

- Manual overrides, focus, white balance, film speed, aperture

5:30pm – Pizza dinner – lobby of the LG Auditorium

6:00pm – Film screening LG Auditorium

TO THE STARRY ISALND (1993, Park Kwang-su, Korea)

THURSDAY, JUNE 28 – 10am – 12pm

                  • Using the equipment part 2 – hands-on workshop

• Transferring the footage, digitizing, basic edits

                  • Film production Assignment One

Shooting for Editing - The Cause and Effect

Fundamental concepts in film layout and editing will be discussed. Examples from Sergei Eisenstein’s “Battleship Potempkin” (Odessa steps scene), the  Kuleshov effect of film editing and ideas about “mis-en-scene” will be introduced.

FRIDAY, JUNE 29  

• open day for shooting

• 10-12pm Korean Language Class

SATURDAY, JUNE 30 –  All day excursion 

PLEASE SEE the handout with details about this excursion

WEEK 2. JULY 2 - 6

Concepts of film montage and responding to text

MONDAY, JULY 2 – 10am – 12pm

• Look at assignments, critiques,

                  • Introducing Adobe Premiere CS 5.5

Readings in Early Korean Literature, Selections and Introductions

Second Round, Week of July 9

For discussion (and further notes):  What do the stories seem to be about?  Are there themes that connect Lady Suro with the story of Ch'ôyong and then in turn to the story of King Mu, pp. 18-24?  Characters?  Types?  Materials?  Issues?  Cultural practices?  Other?

What were the circumstances of the compilation itself?  Who wrote the stories down?  When?  And can we infer, why?

TUESDAY, JULY 3 –  10am – 12pm

Director Park Kwang-su in person

Roundtable discussion with the film director Park Kwang-su with Haden Guest

LG Auditorium, prepare a minimum of two questions for director Park

WEDNESDAY, JULY 4 – 10am – 12pm

• Sound Workshop with Bertrand Laurence

THURSDAY, JULY 5  - 10am – 12pm

                  • Technical Workshop

                  - shooting techniques, working with audio

• Film Production Assignment Two

The Video Portrait with Text.

• 6pm - Film Screening LG Auditorium

VEREDAS (1978, Joao Cesar Monteiro, Portugal)

FRIDAY, JULY 6

• open day for shooting

• 10-12pm Korean Language Class

                 

WEEK 3. JULY 9 - 13

WEEKLONG EXCURSION – Exploring Korea

Please see the hand-out for details

MONDAY, JULY 9  Travel to the Southern Region

Readings in Early Korean Literature, Selections and Introductions

Third Round, for discussion in class July 16

Reading:  EKL, Koryô – Chosôn Transition, pp 29-45; Song of the Dragons Flying, 123-137

How might the contents and circumstances of the EKL materials be translated to present-day Korea?  Which elements, structural features, issues, or other constituent materials might you use in a contemporary projects—Yours! – for your course projects?

                   

                  TUESDAY, JULY 10 - Ulsan

WEDNESDAY, JULY 11 – Gyeongju

THURSDAY, JULY 12 – Andong

FRIDAY, JULY 13 – return to Seoul

WEEK 4. JULY 16 - 20

Narrative Structure in Korean Film  -

and Preliminary Project Proposals

MONDAY, JULY 16 –

Project proposals are due, presentations to faculty

-               discussions about the projects

-               treatments and shooting plans are due

Readings in Early Korean Literature, Selections and Introductions

Fourth Round: 

Reading, EKL 47-96; 139-161 (Enjoy the sijo!)

TUESDAY, JULY 17 – 10am – 12pm Film Screening LG Auditorium

SOPYONJE (1993, Im Kwon-taek, Korea)

WEDNESDAY, JULY 18 –

• Techniques in post production,

- transitions, filters, color correction

THURSDAY, JULY 19 –

• Techniques in post production,

-effects, titles

FRIDAY, JULY 20 –

• open day for shooting

• 10-12pm Korean Language Class

WEEK 5. JULY 23 - 27

Final Projects

 Rough Cuts, Post Production and Final Presentations

MONDAY, JULY 23 – 10am-12pm

• Rough Cuts are Due

                  • group discussions about the rough cuts, feedback

TUESDAY, JULY 24 – 10am – 12pm Film Screening and roundtable discussion

LG Auditorium (TBA)

WEDNESDAY, JULY 25 – 10am-12pm

• Final Polish, audio mixing, final output

- technical workshop on completing the project

THURSDAY, JULY 26 - Final Projects are Due

                  All projects are due by 12pm. No late projects will be accepted

FRIDAY, JULY 27 - Final Presentations

READINGS and TEXTS:

1.           McCann, David, Early Korean Literature, Columbia University Press, New York, 2000.

2.          Online resources for the use of the software will be provided.

ABOUT THE INTSRUCTORS

Y. David Chung is an artist and award-winning filmmaker who has exhibited widely throughout the country and internationally at the Boston Museum of Fine Arts, the Studio Museum in Harlem, the Corcoran Gallery of Art, the Gwangju Biennale, the Tretyakov Gallery in Moscow and a solo exhibition at the Whitney Museum of American Art.  Chung began his career collaborating as a graphic artist on documentary films.  His credits include “Surveillance, No Place to Hide” (HBO), “American Journey” (PBS), “Gardens of Paradise” (PBS), “The Forgotten People” (PBS), “Soldiers in Hiding” (HBO) and “Peace on Borrowed Time” (ABC).  In 1996, he won the Best of Show Award with Matt Dibble for directing  “Turtle Boat Head” at the Rosebud Film and Video Awards in Washington, DC. He received a National Endowment for the Arts Individual Fellowship in 1995.  Chung’s recent documentary film produced with Matt Dibble and Meredith Woo,  “Koryo Saram: The Unreliable People” received the Best Documentary Film Award from the National Film Board of Canada in 20005. Chung attended the University of Virginia, the Corcoran College of Art and Design (BFA) and George Mason University (MFA). Chung is Professor with the School of Art and Design and the former Director of the Nam Center for Korean Studies at the University of Michigan.

A film historian, curator and archivist, Haden Guest is director of the Harvard Film Archive, overseeing the HFA´s cinematheque, preservation program, research initiatives and its renowned collections. Guest's research focuses principally upon studio-era Hollywood cinema, postwar American experimental film, and contemporary Argentine, Latin American and French cinema. Guest received a PhD in 2005 from the University of California, Los Angeles and is currently expanding his dissertation, a critical history of the Hollywood police procedural film between 1930-60, into a book. A frequent contributor to Film Comment, Guest is also completing an anthology of unpublished and uncollected writings by maverick American director Sam Fuller. Haden Guest is a lecturer with the Department of Visual and Environmental Studies at Harvard University.

David R. McCann is David McCann is the Korea Foundation Professor of Korean Literature in the Department of East Asian Languages and Civilizations and former director of the Korea Institute at Harvard University.  He has received the Order of Cultural Merit (2006), one of the highest decorations by the Korean government, and the Manhae Prize in Arts and Sciences (2004).  His books of translations include Azaleas, Poems by Kim Sowôl (Columbia University Press, 2007), Enough to Say It’s Far, Poems by Pak Chaesam (with Jiwon Shin; Princeton University Press, Lockert Library of Poetry in Translation, 2006), Traveler Maps: Poems by Ko Un (Tamal Vista Press, 2004), The Columbia Anthology of Modern Korean Poetry (Columbia University Press, 2004), Early Korean Literature: Selections and Introductions (Columbia University Press, 2001), and several co-edited volumes, including War and Democracy: A Comparative Study of the Korean War and the Peloponnesian War (with Barry Strauss; M. E. Sharpe, 2001) and The Classical Moment: Views from Seven Literatures (with Gail Holst Warhaft; Rowman and Littlefield, 1999).  His poems have been published in Poetry, Ploughshares, Descant, Runes, The Café Review, Off the Coast, Salamander and other journals including several  in Korea.  His poem “David” was included in the Pushcart Prize Anthology III.  His recent poetry books include The Way I Wait For You from Codhill Press (2007), and a collection of original sijo poems in English, Urban Temple, from Bo-Leaf Press (2010).  His current projects include a new collection of poems, The Next Set, exploring a variety of poetic forms including the haiku and sijo in contrapuntal narrative, and what he thinks at the moment is trying to become a multivariant cosmolinguistic analysis of the poem “Azaleas.”

Contact Information:

David Chung davchung@umich.edu

Haden Guest hguest@fas.harvard.edu

David McCann dmccann@fas.harvard.edu

Bertrand Laurence bertlarry@gmail.com

Yubi Kwon kwonyubi@ewhain.net