ScholarWorks@Hanyang University: Chung, Tae Soo

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Chung, Tae Soo (정태수)

COLLEGE OF PERFORMING ARTS AND SPORT (DEPARTMENT OF THEATER AND FILM)

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Tel 02-2220-0809
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<:15||:11||Soviet cinema:3||소련영화:2||김일성:2||Henri Lefebvre:2||film exchange:2||지아장커:2||Jia Zhangke:2||앙리 르페브르:2||Kim Ilsung:2||Technology:2||영화교류:2||An Episode in the Life of an Iron Picker:1||André Bazin:1||Andrzej Waida:1||AntiCommunist:1||Audience class:1||Baby Boom Generation:1||Black Series:1||Black Wave:1||Bosnian War:1||Champ:1||Chinese Cinema:1||Chinese film history:1||Chinese opera movies:1||Cinema of Moral Concern:1||Cold War:1||Cold War (2018):1||Colony Chosun(Korea):1||Compliance:1||Cuban Revolution:1||Cuban cinema:1||Cuba’s history:1||Culture of New Generation:1||Czechoslovakian cinema:1||DMZ:1||Danis Tanović:1||Dark Blue World:1||Dialectics:1||Dingjun Mountain:1||Domestication:1||Dusan Makavejev:1||Eastern Europe:1||Eastern Europe Cinema:1||Emir Kusturica:1||Empties:1||Erotic and sexual expressions:1||Fantasy:1||Fassbinder:1||Field of view:1||Film Noir:1||Film industry:1||Future:1||Habitus:1||HellJoseon:1||Herzog:1||IMF:1||Ida (2013):1||Ideology:1||Ildiko Enyedi:1||Imagination:1||Imperfect Cinema:1||Independence:1||Independent nation:1||Individual:1||Innovation:1||Jan Nĕmec:1||Jan Svěrák:1||José Germain:1||Joseon Cinema:1||Josip Broz Tito:1||Khrushchev Thaw:1||Kim Jongil:1||Kino Drama:1||Kluge:1||Kolya:1||Landscape:1||Last Resort (2000):1||Latency:1||Magic Hunter:1||Magical Realism:1||Market Socialism:1||Marxism and Leninism:1||Merchandising Movies:1||Mikhail Gorbachev:1||Miloš Forman:1||Moonhwajeonseon:1||Movie mania:1||My 20th Century:1||My Summer of Love (2004):1||Na Woongyu:1||Naegohyang:1||Neoliberalism:1||New German Cinema:1||New World>:1||Newsreel:1||No Man’s Land:1||North Korea:1||North Korean cinema:1||Nouvell Vague:1||Novi Film:1||On Body and Soul:1||Pawel Pawlikowski:1||Paweł Pawlikowski:1||Poland Cinema:1||Polish Film School:1||Political power:1||Pop Culture:1||PostYugoslavia:1||Poznań protest:1||Praxis School:1||Private space:1||Public space:1||Pyongyang Film Festival:1||Realism:1||Reality:1||René Barjavel:1||Rethinking:1||Revolutionary Realism:1||Romantic Comedy:1||Romantic Resistance:1||Roots Movement:1||Schlöndorff:1||Second World War:1||SelfManagement System:1||Seoul Olympic Games:1||Simon:1||SinoJapanese War:1||Slobodan Milosevic:1||Social Reality:1||Socialism with a Human Face:1||Spatial reformation:1||Straub:1||Syberberg:1||Taiwan New Cinema:1||Tamas and Juli:1||Television:1||The Chosun GovernmentGeneral:1||The Country Bride:1||The Cranes are Flying:1||The Early 1920s:1||The Elementary School:1||The Japan News:1||The Liberation period:1||The Magician:1||The Ride:1||The Role of Cinema InHistory and Society:1||The new military regime:1||Total Cinema:1||Tractor Drivers:1||Triage:1||Urban space:1||Utopia:1||Vĕra Chytiloá:1||V.I.P>:1||Video industry:1||Visual Age:1||Wenders:1||YeonghwaYesul:1||YongGwangro:1||Youth Culture:1||Yugoslavia:1||Yushin Regime:1||absence of communication.:1||and Great Slump of the 1930s:1||armistice:1||birth of Chinese movies:1||capital value:1||cease fire:1||childhood:1||classization:1||contradiction:1||destalinization:1||debates:1||diversified diplomacy:1||documentary footage.:1||early Chinese movies:1||farmersturned migrant workers:1||film:1||film discourse:1||film history studies:1||film space:1||film studies:1||gaze:1||immigrant:1||juche idea:1||liberation:1||loneliness:1||mainland:1||materialism:1||misogyny:1||newsreel:1||noble realism:1||otherization:1||ourstyle socialism:1||reform and openness:1||social relations:1||social space:1||solitude:1||symbolic space:1||thaw era:1||the Cuban Cinema:1||the Cuban Revolution:1||the Fourth Generation:1||the Gwangju massacre:1||the Korean cinema of the 1980s:1||the Nazi past:1||the Oberhausen Manifesto:1||the collapse of the Soviet Union and Eastern Europe:1||the cracked social space of Korea:1||the division of Korea.:1||the marginal person:1||the problem of human communication:1||the relationship of subordination:1||theFifth Generation:1||urban space:1||가내화:1||개혁개방:1||검은 물결:1||계급화:1||고상한 사실주의:1||공간의 균열:1||공간적 재편:1||광주학살:1||기술:1||기획영화:1||김정일:1||나운규:1||나의 20세기>:1||낭만적 저항:1||내고향:1||노 맨스 랜드:1||노비필름:1||논쟁:1||농민공:1||누벨바그:1||뉴스영화:1||다니스 타노비치:1||다변화 외교:1||다크 블루 월드:1||대중문화:1||더 매직 헌터>:1||도시공간:1||도시적 공간:1||독립화:1||동유럽:1||동유럽 영화:1||두상 마카베에프:1||딩쥔산>:1||라이드:1||로맨틱 코메디:1||르네 바르자벨:1||마법사 시몬>:1||마술적 사실주의:1||모순:1||문화전선:1||미래:1||미하일 고르바초프:1||밀로셰비치:1||반공 이데올로기:1||베이비 붐:1||변증법:1||보스니아 전쟁:1||부유한 신부>:1||북방정책:1||북한:1||북한영화:1||불완전영화:1||브이아이피>:1||블랙시리즈:1||비디오산업:1||사랑이 찾아온 여름>:1||사사화:1||사실주의:1||사적⋅공적공간:1||사회적 공간:1||사회적 관계:1||상상:1||서울 올림픽:1||성적표현:1||소련과 동유럽의 붕괴:1||소외:1||순응:1||시선:1||시야각:1||시장사회주의:1||식민지 조선:1||신군부:1||신세계>:1||신세대문화:1||신자유주의:1||아비투스:1||안제이 바이다:1||알레고리:1||앙드레 바쟁:1||앤드 오브 워:1||얀 스베락:1||어큐믈레이터 1:1||에밀 쿠스트리차:1||엘리멘터리 스쿨:1||엠프티스:1||여성혐오:1||연쇄극:1||영상시대:1||영화:1||영화 공간:1||영화 연구:1||영화관람:1||영화담론:1||영화사 연구:1||영화예술:1||완전 영화:1||용광로:1||우리는 같은 꿈을 꾼다>:1||우리식 사회주의:1||유고슬라비아:1||유신체제:1||유토피아:1||이다>:1||이데올로기:1||일디코 엔예디:1||일본뉴스:1||자주관리제:1||장 이론:1||재사유:1||조선영화:1||조선총독부:1||조세 제르멩:1||종속관계:1||주변인:1||주체사상:1||중국영화사:1||중국영화의 기원:1||중국초기영화:1||중일전쟁:1||지연속도:1||청년문화:1||콜드 워>:1||콜리야:1||쿠바영화:1||타마스 앤 줄리>:1||타자화:1||테크놀로지:1||텔레비전:1||트랙터 기사들>:1||티토:1||파베우 파블리코프스키:1||파벨 파블리코프스키:1||평양영화축전:1||포스트 유고슬라비아:1||포즈난 봉기:1||폴란드 영화학파:1||프락시스:1||한국영화:1||해방:1||해방기:1||해빙기:1||헬조선:1||혁명:1||환상성:1||활극:1||희곡영화:1||(2004):1||(2013):1||(2018):1||1920년대 초반:1||1930s Soviet Films:1||1930년대 소련영화:1||1960년대:1||Accumulator 1:1||Action Drama:1||Alienation:1||Allegory:1||American value and identity:1||

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