4. The Woman with a Movie Camera: Dismantling the Male Gaze in Yim Soon-rye’s The Whistleblower and The Weight of Her

Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Figures vii
4. Notes on Contributors viii
5. Acknowledgments xi
6. Introduction: The Korean New Wave and The Single Woman 1
7. 1. “Ugly Men Shall Prevail”: Representations of Masculinity in the Films of Yim Soon-rye 12
8. 2. Politics of Slow: Yim Soon-rye’s Promenade in the Rain (1994) and Waikiki Brothers (2001) 30
9. 3. The Cinematic Naturecultural Turn in South Korea: Ecofeminist Pastoralism in the Works of Yim Soon-rye 46
10. 4. The Woman with a Movie Camera: Dismantling the Male Gaze in Yim Soon-rye’s The Whistleblower and The Weight of Her 64
11. 5. Dropping-Out and Truth-Telling (Both Acts Rather Unpopular): Sovereignty, Biopolitics and Critique of the Nation-State in Yim Soon-rye’s South Bound (2013) and The Whistleblower (2014) 81
12. 6. Sensory Connections Between Food and Femininity in Yim Soon-rye’s Little Forest and Lee Seo-gun’s The Recipe 96
13. 7. “I Want to Live a Life that I Choose”: Romanticized Queer Family and Nature in Little Forest (2018) 113
14. 8. Korean Cinema and Me: An Interview with Yim Soon-rye 130
15. Index 143