Citas bibligráficas
Péndola, M., (2021). Análisis de la construcción de la violencia en la trilogía de la venganza del cineasta surcoreano Park Chan Wook como una crítica al capitalismo contemporáneo [Tesis, Universidad Peruana de Ciencias Aplicadas (UPC)]. http://hdl.handle.net/10757/655747
Péndola, M., Análisis de la construcción de la violencia en la trilogía de la venganza del cineasta surcoreano Park Chan Wook como una crítica al capitalismo contemporáneo [Tesis]. PE: Universidad Peruana de Ciencias Aplicadas (UPC); 2021. http://hdl.handle.net/10757/655747
@misc{renati/394904,
title = "Análisis de la construcción de la violencia en la trilogía de la venganza del cineasta surcoreano Park Chan Wook como una crítica al capitalismo contemporáneo",
author = "Péndola Vargas, María Isabel",
publisher = "Universidad Peruana de Ciencias Aplicadas (UPC)",
year = "2021"
}
The main objective of this research work is to analyze how violence is constructed in director Park Chan Wook's cinema as a critique of contemporary South Korean society. To achieve this objective, in the first place, the cinematographic treatment of violence will be identified in the South Korean director's revenge trilogy, which is made up of: Sympathy For Mr. Vengeance (2002), Oldboy (2003) and Sympathy For Lady Vengeance (2005). Second, the forms of violence in these films will be recognized in relation to the consequences of the capitalist system of South Korean society. The introduction presents the study whose general objective is to present the context in which the South Korean director and the revenge trilogy emerge. In the theoretical framework, it is intended to make a journey through the ways in which fiction cinema has represented violence throughout history, this framework will allow me to contextualize Park Chan Wook's proposal within the evolution of the South Korean film industry. Likewise, the concept of violence in general and how it is represented in cinema will be deepened; as well as the relationship between violence and capitalism. In the analysis chapter, sequences from each film will be used divided into three criteria in relation to the presence of violence: revelation, action and conclusion. Afterwards, an audiovisual analysis of each sequence linked to the socio-historical context of South Korea and the consequences of contemporary capitalism facing this society will be offered. Finally, in the conclusions there will be a reflection on how Park Chan Wook manages to create an aesthetic of the particular violence of a capitalist world and shapes it through audiovisual resources to create a critique of his own society.
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