Is Nudity Still a Box-Office Draw? 2012/11/09, Source,
Testing the legal limits of screen nudity can often be an effective way to publicize a new film, and getting a star to show as much skin as possible is a shortcut to wide media coverage. But increasingly there are signs that such marketing strategies no longer guarantee success. Evidence to the contrary might be provided by a look at the box office performance of movies released this year that drew a lot of attention for nudity. "A Muse", which drew attention for nude scenes by rookie Kim Go-eun-I, managed to pull 1.35 million moviegoers. "The Scent", starring Park Si-yeon, drew 1.25 million viewers, while "The Concubine" starring Jo Yeo-jeong attracted 2.64 million,...More
[HanCinema's Film Talk] Is Korean Cinema Soft on Sex? 2012/10/20,
I don't know what it was exactly about the sex scene in Kim Dae-woo's 2010 remake of the "The Servant" that captivated my interest and senses. Perhaps it was the enchanting realisation/sexual release of the film's own internal eroticisms and sexual pressures or, admittedly, the 'cinematic purity' of the act itself as expressed through both the Choon-hyang's erotised body. Indeed, Jo Yeo-jeong's physical facets, and willingness, have contributed to her popularity as an actress both in Korea and abroad. I am not, however, so brave as to say that she might have inadvertently typecasted herself as Korea's own cinematic exhibitionist, but her recent role in Kim Dae-seung's "The Concubine" seemed to play off that image as an 'erotic icon' as her sexual agency was, once again, commodified through another historical Korean drama that taunted and teases its way through the prickly plane of sexual representation.
"The Concubine" did not, however, managed to encapsulate the culture depth and erotic significance of Kim Dae-woo's modernised enactment of the Korean myth of Chann-hyang. In fact, the representation of sexual acts in recent years has seemed to be unable to transgress from Korea's own modern conservatism,...More
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