El realismo animado de Sang-ho Yeon
[EN] This article focuses on the figure of the South Korean animation director Sang-ho Yeon. Having directed only two films, Sang-ho has achieved with his productions to be the first South Korean animator screened at Cannes, and he has also won awards at Sitges with his last film. His work, still no...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/50710 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/50710 |
| Access Level: | acceso abierto |
| Palabra clave: | Corea del Sur Sang-ho Yeon Independiente Bajo presupuesto Hallyu South Korea Indie Low budget |
| Sumario: | [EN] This article focuses on the figure of the South Korean animation director Sang-ho Yeon. Having directed only two films, Sang-ho has achieved with his productions to be the first South Korean animator screened at Cannes, and he has also won awards at Sitges with his last film. His work, still not very widespread in Spain, portraits harshly today’s South Korean society. With this paper we want to review the basis of Sang-ho’s films. We will relate his cinema with the independent animation South Korean production, and how he has managed to combine realism and animation to forge a solid social discourse in his movies, focusing on the analysis of his two features: The King of Pigs (Dwae-ji-ui Wang, 2011) and The Fake (Saibi, 2013). |
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