Park Seo-joon - Wikipedia
This post contains spoilers so basically do as you please:D. This movie is based on a book that I now really want to read but will probably. Park Hae-il (born January 26, ) is a South Korean actor. He began his acting career in . Park married his longtime girlfriend Seo Yoo-seon on March 11, ; they have two Seo is a playwright and has also written an episode of KBS Drama Special .. "So Ji-sub, Park Hae-il, Lee Tae-gon win top prize at culture and. Thousands of Japanese fans of the late entertainer Park Yong-ha marked the She wiped tears from her eyes occasionally as she listened to Park's songs “One . the family's close relationships and love for Park, Japan's Sankei Sports reported. . So Ji-sub will attend Park Seung-in's funeral and offer his condolences.
Dad's cousin's drunk and rowdy. Have you forgotten the day your father died? No point in listening to his stupid voice. Finally a proper party comes alive beneath the marquee, the excited bride's boasting about her in-laws. Even though the truck's arrived, drawn up in front: Have you forgotten how your father died?
This became an element in the critical debate sparked by Kim Su-yong's "All avant-garde literature is subversive". Shin Kyong-nim has continued to play a leading role in this movement. His poems often express the pain and hurt of Korea's poor, not only those of remote villages but the urban poor and those marginalized in society. Many poems take on increased power by the suppression of explanatory background; readers are invited to supply from their own memories or imaginations an explanation for the scene recorded in "That Day": One young girl all alone follows weeping behind the bier.
A procession with no funeral banners, no hand-bell in front. Ghost-like shadows along the smoke-veiled evening road, a breeze scattering falling leaves down alleys with neither doors nor windows, while people watch hiding behind telegraph posts and roadside trees. Nobody knows the dead and moonless day.
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The sky urges me to turn into a cloud, the earth urges me to turn into a breeze, a little breeze waking weeds on the ferry landing once storm clouds have scattered and rain has cleared. To turn into a peddler sad even in autumn light, going to Mokkye Ferry, three days' boat ride from Seoul, to sell patent face-powders, on days four and nine. The hills urge me to turn into a flower, the stream urges me to turn into a stone.
To hide my face in the grass when hoarfrost bites, to wedge behind rocks when rapids rage cruel. To turn into a traveller with pack laid by, resting on a clay hovel's wood step, river shrimps boiling up, changed into a fool for a week or so, once in thrice three years. Ever sincewhile those in command of capital grew rich, brutal suppression made sure that the factory workers continued to work submissively for minimal wages.
After we've lost every trace of laughter all day long when we try to smile in front of the alley grogshop our faces twist and contort. When we clasp each other's hands warmly our hands feel cold and rough.reveals Park Yong ha's secret
As we limp through night-covered poverty freed from all the people who hate us we rage, and repent, and when we push open our rooms' curbside doors and call our wives' names, our voices turn into keening laments.
Ssitkim Kut Go your way in peace, they say, go your way in peace. With your broken neck, hugging severed limbs, go a thousand, ten thousand leagues down the road to the land beyond, without night or day; go your way in peace, they say, go your way in peace.
Sleep now, they say, sleep quietly now. Though a myriad million years pass, never open those eyes blinded with blood as you fell in barley field, meadow, or patch of sand; sleep now, they say, sleep quietly now.
Seize hold, with your slashed and slivered hand seize warmly hold of these blood-covered hands. A new day has come, the sun is shining bright, birds are carolling, the breeze is balmy, so seize hold with your slivered hand, they say, seize hold. I cannot go with my broken neck and severed limbs, I cannot quietly close my blood-blinded eyes, cannot seize hold, cannot seize with this slivered hand, I cannot seize your blood-covered hands.
I have come back, with blood-blinded eyes glaring, I have returned with my broken neck, hugging severed limbs; I grind my teeth and wish bitter frost may drop from heaven. I cannot seize hold with this slivered hand, I cannot seize your blood-covered hands; I have come back, a dense storm-cloud, to alleys, markets, factories, quays; I have come back, a violent outcry.
No poet has so well expressed, and so humbly, the characteristic voice of Korea's masses, both rural and urban. Shin never sentimentalizes his subjects but rather takes the reader beyond the physical and cultural exterior to reveal them as intensely sensitive, suffering human beings. As the translator of such poems, I cannot accurately judge their likely impact on readers away from the Korean tradition and context, which have to some extent become my own.
I am very conscious that such poems could never have been written in Britain, yet I sincerely believe that certain of the tensions and concerns out of which they have been written can be paralleled here. Indeed, the writings and efforts of Jon Silkin and others in favour of a poetry rooted in reality would seem to be particularly important points to which one might refer.
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Yet the rather lofty rhetoric favoured by Kim Su-yong and the often grim evocations of rural pain found in Shin Kyong-nim could hardly have found favour in the English literary tradition, so deeply marked as it is by intellectual tough-mindedness, wit, and irony, where the Korean texts are far simpler in their approach. Their work has the advantage of 'foreignness', certainly, and this is the quality that some translators stress in presenting Korean literature abroad.
It is so different from anything we are familiar with, and that difference must remain after translation or we would be guilty of eliminating a characteristic feature of it. It may be that the poetry of Kim Kwang-kyu comes closer than either of the previously discussed poets to the norms of modern western European poetry.
The reasons are partly due to age. Kim Kwang-kyu is younger, he was born in Seoul in He is a professor in the German department of Hanyang University, having studied for several years in Germany. He published his first volume of poems inthe same year as he published translations into Korean of poems by Heinrich Heine and Gunter Eich; he has also translated works by Bertold Brecht.
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His vision is therefore much more universal. He too owes much to the principles expressed in Kim Su-yong's critical essays.
More even than Kim, he adopts a plain style. Like him, he is convinced that poetry must be relevant to the things happening in society. He is an intellectual, and unlike almost any other Korean poet, he views human life with a sardonic eye and does not disdain humour as a means of social action. He has a delicate ear that allows him to develop lyrical moments, but always in quiet modes. There is none of the loftier rhetoric and intense emotion that often passes for high poetry in Korea.
One of his earliest poems is a prose poem: In my childhood village home there was a mysterious mountain -- Spirit Mountain, it was called -- and no one had ever climbed it.
Author Post time However, that initial excitement soon turned into disappointment when word got out that Kang Woo-suk -- director of such straight forward, mainstream fare as the Public Enemy franchise -- and his Cinema Service production company was taking on the project.
So Ji-sub participates in a wake of Park Yong-ha's father... He is true 'Man of Loyalty'
In the eyes of film enthusiasts and critics, Kang has always been considered a commercially driven, hackneyed director who makes low-brow films that provoke the most basic of human emotions. His films, while huge box office draws, are considered to exploit the pulse of the Korean public through nationalism and themes which pander toward the working class by vilifying the social elite through simplistic, one-dimensional portrayals.
They were essentially tagged as distinctly Korean films which would be impossible to export to foreign markets. Since Moss was noted for the layered storytelling and the cosmopolitan approach with which its author handled the subtext of social commentary, many had doubted the Kang would be able to do it justice.
There were plenty of fanatics of the original comics that wrote on internet message boards asking why it had to be me, Kang told reporters Tuesday during the post-screening Q and A session in Seoul.
Reading those disparaging remarks, I realized how revered and large a fan base the original had. He added, one-upping the original became our first priority. Yonhap News Before we began production, I told Yoon Tae-ho author of the original that if I couldnt overcome his original then I would have made this film in vain.
So throughout filming I was always concerned whether I was going to be made a pariah by fans if I didnt do a good job.
Anchored in a classic murder mystery, Moss tells the story of one mans journey into the heart of darkness in a small town deep in the backwoods of the Korean countryside to uncover the truth behind his fathers death.