Oral Research Parts 2 and 3 - Historical and Institutional Factors x Socio-Cultural Context

II

I've explored in the previous post the great importance of Oldboy's creator, Park Chan-wook. His role as the creative vision behind the film is reflected in the usage and prominence of the themes of revenge, violence, and salvation.

Unfortunately, due to its being a foreign (South Korean) film, there is little research I can do as far as the significance of its other creators or its production company. However, further insight can be made into the film's political background. The film opens in 1988, just after the beginning of South Korea's Sixth (and current) Republic. The nation had just undergone major reform after a period of military regime. While the portrayal of Oh Dae-su's fifteen-year imprisonment is brief, references are made to numerous historical events of the period including the inaugurations of three presidents, the Seoul Olympics, and the signing of the IMF. While care is taken to display such significant events, none of these play notable roles in the overall film.

The majority of Oldboy takes place in a modern, contemporary setting: 2003. Therefore, aside from a few technological advances, the film depicts a very familiar time to now, and much of the film is recognizable as such. Additionally, because it is relatively new, the film reflects many modern filmmaking techniques. The cinematography and editing are reminiscent of that of a summer blockbuster: quick and stylized. While some aspects of the film require enormous suspension of disbelief, other elements are immediately believable due to their familiarity.

Oral Research Part 1 - Genre and Audience

I

Oldboy (2003) is a revenge thriller with elements of action, mystery, and romance intertwined. The first is evidenced by the heavy emphasis throughout on suspense, excitement, and tension as protagonist Oh Dae-su frantically pieces together the reason for his 15-year imprisonment. This also relates to the film's classification as a mystery; for a portion of the film, the plot is a whodunit of sorts. Elements of action are prominent in the numerous fight scenes as well as the protagonists' scurrying around the city. Finally, the romantic aspect of the film is the relationship between Dae-su and his newfound love Mi-do; furthermore, the power of love is explored through the film's overall story.

Regarding connections to other works, there are two that are stated by director Park Chan-wook. First of all, the film is loosely based on the Japanese manga of the same name. Additionally, it is the second entry in Park's Vengeance Trilogy, spiritual successor to Sympathy for Mr. Vengeance (2002) and succeeded by Sympathy for Lady Vengeance (2005). Like its companions, Oldboy deals with themes of revenge, violence, and salvation. Aside from these, the film can be described as Kafkaesque, being particularly comparable to Kafka's The Trial, in which protagonist Josef K. is also obliviously imprisoned.

Ideology in Film

Ideology is the set of ideas that direct one's thoughts, goals, and actions. Implicit ideology, in terms of its use in film, refers to that which is under the surface. Implicit values require deeper analysis and foster increased thought. Explicit values are above the surface. Such ideology is openly declared by the filmmakers or within the film.

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One actor who presents a predictable ideological package is Harrison Ford. Earlier in his career, Ford typically played a rebellious hotshot; a pretty boy with a smart mouth, but who is overall an okay guy. Such examples of this include the arrogant street racer Bob Falfa in American Graffiti (1973); Han Solo, the intergalactic smuggler turned Rebellion leader in the Star Wars original trilogy (1977, 1980, 1983); and college professor/archaeologist/adventurer Indiana Jones in the namesake franchise (1981, 1984, 1989, 2008).  As his career progressed, he became known more as an older man caught in a situation requiring action, such as retired blade runner and possible replicant Rick Decker in Blade Runner (1982); ex-CIA agent Jack Ryan in Patriot Games (1992); and scientist Dr. Norman Spencer in What Lies Beneath (2000). The five most fitting adjectives for the roles that Ford plays are bold, sarcastic, charismatic, impulsive, and slightly childish. In his next role, due to his age, I anticipate that he will be a grizzled old veteran in an action movie, possibly co-starring a "young newcomer" archetype as his sidekick or partner.

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One of my favorite films is at left: Paul Verhoeven's Starship Troopers (1997). I like most of the characters to a degree; at the very least, I feel sympathetic to most of them. My favorite character is Dizzy Flores, friend and comrade of main protagonist Johnny Rico. What I like about Dizzy is her character arc and the great metamorphosis she undergoes throughout the film. In the beginning, when the characters are still in school, Dizzy is characterized by her unrequited love for Johnny. As the film develops, the characters enlist in the military and Dizzy eventually becomes a valued partner, Johnny's significant other, and finally dies a martyr. The filmmakers encourage such sentiments mostly through her evolving relationship with Johnny. The values promoted through Dizzy are those of love, peace, and open-mindedness, as the most emotionally significant moments concerning Dizzy relate to these: her and Johnny's falling in love and her death in battle. In order to emphasize the viewpoints he wished for us to come to, Verhoeven gradually moves shots of Dizzy from emotionally nondescript medium shots to more expressive, high key close-ups with that make Dizzy appear more attractive and desirable. Additionally, the editing reveals her counterparts' reactions to her actions; the audience sympathizes with the emotions displayed.

Genre Study

Writing about Film

The article "Writing about Film" details five different kinds of film writing. The first is formal analysis. This requires the writer to separately consider each and every element of the film and its impact on the piece as a whole. Therefore, the viewer must develop a deeper understanding of each aspect.

Another type of film writing is film history. Such writing involves a knowledge of the culture of the film's time and place, particularly the norms and standards reflected in it. Furthermore, film history also entails the history of the film itself - the trials and tribulations as well as the successes and achievements experienced during its production, its release, and the aftermath: its legacy.


A third form of film writing is an ideological paper. These discuss the beliefs and ideals expressed in all films, ranging from political propaganda to nationalistic pride to simply being a good person.

Papers regarding cultural studies and national cinemas reflect on the deep, unintentional resonance that culture has on a film. A specific culture's values are invariably displayed in its films, leading to differences in perception amongst audiences of different cultures.


Finally, we come to discussions of the auteur. An auteur in film is a director whose personal creative vision is notable through all aspects of the film. Discussion of such recognizes this; ergo, criticism leads one to comprehend what really makes an auteur's film his or her film. This type typically takes traits of other papers, such as film history or formal analysis, in order to spread its focus to the film itself as well as the auteur's personal efforts.