subarashiis-kim.-ji-young.-born.-1982.2019 Scanner Internet Archive HTML5 Uploader 1.6.4. plus-circle Add Review. comment. Reviews There are no reviews yet. Be the first one to write a review. 0 Views . DOWNLOAD OPTIONS download 1 file . H.264 IA download. download 1 file . ITEM TILE KimJiyoung, Born 1982 by Cho Nam-Joo My rating: 4 of 5 stars We are introduced to Kim Jiyoung as a young mother who spontaneously channels other women's thoughts. This would be an interesting premise, and one I wish was developed a bit more but most of the book is a life sketch of Jiyoung, with particular emphasis put on all the ways a typical South Korean girl has to struggle for equality KimJi Young Born 1982 diproduseri oleh Mo Il Young, Jwak Hee Jin, dan Park Ji Young. Film produksi Lotte Cultureworks ini diadaptasi dari novel karya Jo Nam Joo. Dalam film ini, Jung Yu Mi beradu peran dengan Gong Yoo. Alur ceritanya berpusat pada seorang wanita yang menjadi ibu rumah tangga dan depresi. Ngàyphát hành: Ngày 23 tháng 10 năm 2019. Phỏng theo: Sách Kim Ji Young, born 1982 của nhà văn Cho Namjoo . Nội dung chính: Kim Ji Young, Born 1982 là bộ phim lấy bối cảnh cuộc sống đời thường của Kim Ji Young, một người phụ nữ Hàn Quốc đang rơi vào thời kì trầm cảm sau khi sinh con J. Kim Ji-young, Born 1982 is a film about a woman in her 30s named Ji-young (Jung Yu-mi) who has recently given birth to her first child and acts as a stay-at-home mother while her husband Jung Dae-hyun (Gong Yoo) continues working. Since the birth of their child, Ji-young has started acting strangely. Thenarrative does not dawdle and is structured to move quickly across several periods of Kim Ji Young's life labelled "childhood," "early adulthood," and (tellingly) "marriage." Born in 1982 is not much different than had she been born in the US in 1962. But we were told, over and over again we could have it all: a meaningful . A story of Kim Ji-young, a young woman in her thirty's, discovering both the struggles and the strengths of being a woman. Starring- Jung Yu-mi and Gong Yoo. Directed by Kim Do-young Mar 29, 2023 • 3 min read Movie Kim Ji-young, born 1982 1982년생 김지영Director Kim Do-youngWriters Yoo Young-ah and Cho Nam-joo author of the novelCast- Jung Yu-mi, Gong Yoo, Kim Mi-kyung as Mi Sook Ji Young's mother, Gong Min-jeung and Kim Sung-cheol as Kim Eun-young and Kim Ji-seok Ji Young's sister and brother, Lee Bong-ryun and the movie-Kim Ji-young, born 1982 or 1982년생 김지영 is a 2019 movie adapted from the bestselling novel under the same name written by author Cho Ji-young, born 1982 is a story of Kim Ji-young, an ordinary woman in her 30's, who suddenly shows signs of being inhabited by women around her like her mother, her older sister, her best friend, and also talks about stories of people connected to her.*This review may contain spoilers. If you have already watched the movie, please continue reading. If you haven’t watched the movie yet, you can still continue reading or you can come back to the review later.What I loved about the movie-The movie is adapted from the novel and they have presented it beautifully. The movie is fabulously made. It's every woman's story, isn't it? All of ours. My sister suggested that I read this book and I loved it with all my heart. And the movie, I loved it just as much. All the additions in the movie blended seamlessly into the story. The movie does justice to the book. I wouldn't say tribute but the book and the movie are a gift to the women around the are addressed as someone's mother, someone's wife, someone's daughter, etc. We women want to be all that and someone else, someone much more. We want to be ourselves and feel enough. We do not need to be embarrassed, do not need to feel less, and do not need to feel like we owe our lives to anyone we be proud to to be born as Women? Shouldn't others be proud that we were born as a woman too?The world convinces you into thinking that you are not enough, that you need to compromise for someone else's benefit. If I continue to live the way others expect me to, I would feel like I am living in someone else's body, living someone else’s have a lot of empathy for each other. I watched an advertisement a while ago where two women are seen complementing each other out of the blue. A kid watching this entire scene asks them why they were doing so, and one of the women replies by saying that it's us women who need to uplift each the Characters, the Actors, the Writer and the DirectorThe MVPs of the book are Cho Nam-joo, the author and all the women characters that she poured so much life into. And the MVPs of the movie are director Kim Do-young and all the women characters. Each woman in the movie has so much to tell and so much to teach. Jung Yu-mi as Kim Ji-young and Kim Mi-kyung as Mi-sook are so pure and raw. Movies like this prove how extraordinary these women are as actors and as individuals in general. They are so imperfectly perfect in their portrayals, of the lives and the struggles of all the women out there and they are the best at representing are a few changes in the movie compared to the movie. Gong Yoo's character Dae-hyun is extremely supportive in the movie, in spite of all the inhibitions he holds and all the prejudices he has. Dae-hyun is willing to change himself and his thinking and support his wife and her growth despite the struggles they are going to face together. Gong Yoo is admirable in his portrayal of movie showed a change in the attitude and behaviour of Ji-young's father and brother and it is such a wonderful addition as movie consists of a phenomenal star cast and each and every actor is Kim Do-young- I do not have enough words to express my gratitude to Kim Do-young for creating this beautiful piece of art. It takes a lot of courage to take up a topic as sensitive as Kim Ji-young and put it out into the world. She is representing all the women and the movie is like a gift from a strong, talented, brave and hardworking woman to the women of the world. I am looking forward to more amazing and extraordinary work from director Kim Do-young because the world needs them more than I can all the Women of the world,Thank you for teaching me that Women are amazing human beings. Thank you for teaching me that Women are strong, independent and courageous and when they are supported, uplifted, encouraged and empowered, they are capable of greater you are a book lover please do read the book and also watch the movie. But if movies are your thing, I highly recommend that you watch this astounding creation. Summary One of Korea’s best-selling novels is a portrait of systemic discrimination that through its repeated ordinariness becomes something extraordinary. Originally released in its native South Korea in 2016, Cho Nam-Joo’s book shot to fame in South Korea when floor leader of the Justice Party’s Roh Hoe-chan gifted the book to President Moon Jae-in. The book, which concerns a stay-at-home mother with depression, was inscribed with a message that read “Please embrace Kim Ji-young Born ’82.'” The film adaptation of KIM JI-YOUNG, BORN 1982 82년생 김지영 arrives in a timely fashion as the global MeToo movement shares similar true tales of everyday discrimination. Most descriptions will tell you that the titular Kim Ji-Young Jung Yu-Mi is an ordinary woman in her 30s who starts experiencing signs of being someone else. Of course, that spooky sounding plotline speaks more to the otherness’ she has been experiencing her whole life as a woman in Korea. This film signals the feature directorial debut of actor Kim Do-young, perhaps best known for roles in films like The Righteous Thief 2009. In translating the novel to the screen, she and co-writer Yoo Young-ah On Your Wedding Day have managed work Cho’s vignettes into a single narrative while maintaining the cumulative impact of institutionalised sexism. From dealing with groping as a schoolgirl to familial and societal expectations of Ji-young as a mother, her wants and needs have consistently been secondary to those of her brother, husband, and father. Ostensibly about indoctrinated misogyny in South Korea, there’s a universality to Ji-young’s experience. Following the book’s structure of a life as a case study, albeit without the bookends of a male doctor analysing her experience, Ji-young’s life might be viewed by the men in her life extraordinary but the truth is that it’s the cumulative and systemic micro and let’s face it, macro aggressions that determine her fate. Early in the film, Ji-young overhears someone referring to her coffee break with child in tow as a “comfortable life,” a viewpoint shared by many men in her circle. Her father gets easily outraged by any woman’s role that is not child-rearing, while Ji-young’s mother-in-law is furious that her return to work might jeopardise her own son’s career. Jung Yu-Mi – known for her roles in Oki’s Movie, Train to Busan and Psychokinesis – delivers a powerfully understated and award-winning performance. Her stoicism in the face of prosaic prejudice gives added weight to the film. Equally fierce is Ji-young’s mother, who’s vocal opposition to the men in their lives leads to a semi-breakdown on screen. The men, of course, stand about impotent in the face of emotion. When the book and film were released in Korea, headlines spoke of it increasing tensions in the local market and couples breaking up over it. The messaging is not necessarily subtle, but neither is the discrimination against women. It’s precisely the ordinariness of these typically male viewpoints that, when taken together in a single document such as this, demonstrate how stacked the system is against career-minded women. Yet it would also be very easy to dismiss this as a Korean problem, and if this timely tale shows us anything it’s that society has a collective culpability in perpetuating it or a responsibility to instigate change. 2019 South Korean DIRECTOR Kim Do-young WRITER Kim Do-young, Yoo Young-Ah CAST Jung Yu-mi, Gong Yoo, Kim Mi-kyeong DISTRIBUTOR Little Monster Entertainment/Korean Film Festival in Australia AUS RUNNING TIME 120 minutes RELEASE DATE 29 October – 5 November 2020 KOFFIA Read more coverage of South Korean cinema from the silent era to festivals and other contemporary releases. Plus go beyond Korea with more film from Asia in Focus. About The Author This Korean bestseller chronicles the everyday struggle of women against endemic sexism. Its provocative power springs from the same source as its total, crushing banality in telling the story of Kim Jiyoung – whose name is the Korean equivalent of “Jane Doe” – Cho Nam-joo’s third novel has been hailed as giving voice to the unheard we meet Jiyoung, she is 33, with a one-year-old child. Her life is unremarkable, except that she has begun to take on the personalities of other people. During a visit to her in-laws, Jiyoung slips into her mother’s identity and speaks in a manner deemed inappropriate for her place in the age-based hierarchy of Korean society. Her father-in-law is outraged, thundering “Is this how you behave in front of your elders?”Jiyoung agrees to visit a psychiatrist, and his record of their conversations about her life makes up most of this slim novel. She was born when “checking the sex of the foetus and aborting females was common practice, as if daughter’ was a medical problem”. We see that though she has always played by the rules, she cannot win. “Jiyoung was standing in the middle of a labyrinth. Conscientiously and calmly, she was searching for a way out that didn’t exist.” The clinical, dispassionate third-person account, annotated by reports from newspapers and official demographic data, catalogues the systemic oppression she has faced. At school, boys eat first, and she suffers sexual harassment and victim blaming. In the workplace, she has first-hand experience of the gender pay gap “women working in Korea earn only 63 per cent of what men earn”. And while performing the uncompensated, costly work of motherhood, she is horrified to hear herself denigrated as a parasitic “mum-roach”.What does it mean to narrate a life in a strictly chronological fashion? The linearity of the account feels claustrophobic, with the case-study style objectifying Jiyoung and stripping her of her interiority. Cho’s formal excision of any sense of imaginative possibility is highly effective in creating an airless, unbearably dull world in which Jiyoung’s madness makes complete sense. Her derangement is the only way out of the cramped paradox of gender-based time passes, the novel shows how attitudes towards gender are entwined with socioeconomic issues. Cho spotlights the Korean financial crisis of 1997, after which increases in wage inequality and barriers to social mobility contributed to a sense of despair, fuelling misogynistic sentiments. Jiyoung’s life is also set against more positive developments, such as new legislation against gender discrimination – but the path to progress is serpentine. “The world had changed a great deal, but the little rules, contracts and customs had not, which meant the world hadn’t actually changed at all.”“When you girls grow up, maybe we’ll even have a female president!”, speculated Jiyoung’s mother to her young daughter. And indeed, when Kim Jiyoung was published in Korea in 2016, there was a female president Park Geun-hye, the daughter of military dictator Park Chung-hee. But Park Geun-hye adopted her father’s method of patriarchal authoritarianism. Under her leadership, gender inequality worsened, women took a disproportionate hit from the growing wealth gap and the number of sex crimes Geun-hye was eventually brought down by a huge corruption scandal that erupted in 2016, causing millions of Koreans to take to the streets calling for her impeachment. In May that year, a 34-year-old man murdered a random woman in a Seoul subway, stating that he did so because he felt “ignored” and “belittled” by women. The public outcry that followed this attack fused the widespread energy of change with a nascent popular feminist consciousness, taking root in the Korean version of Jiyoung’s publication during this seachange in mood could not have been more perfectly timed. The first Korean novel in nearly a decade to sell more than 1m copies, it has become both a touchstone for a conversation around feminism and gender and a lightning rod for anti-feminists who view the book as inciting misandry there was a crowdfunding campaign for a book called Kim Ji‑hoon, Born 1990, showing the “reverse discrimination” faced by men. The book has also touched a nerve globally a bestseller in China, Taiwan and Japan, it has been translated into 18 languages, in English by Jamie Chang, and adapted for character of Kim Jiyoung can be seen as a sort of sacrifice a protagonist who is broken in order to open up a channel for collective rage. Along with other socially critical narratives to come out of Korea, such as Bong Joon-ho’s Oscar-winning film Parasite, her story could change the bigger one. Well-intended feminist South Korean drama Kim Ji-young, Born 1982 is realistic and heart-breaking, but the slow-paced and tell-more-than-show narration could be disappointing to housewife in her 30s, Kim Ji-young Jung Yu-mi, is distressed and exhausted from taking care of the household and her young daughter, as well as fulfilling her society’s expectations of a married day when visiting her in-laws with her husband Dae-hyeon Gong Yoo, she suddenly acts and speaks like her mother by speaking against her mother-in-law, who exploits her and expects her to obediently follow her orders and do all the about his wife’s mental health, Dae-hyeon tries to search for information online and seek help from a psychiatrist, hoping to figure out what’s wrong with his around the mental struggles and life of Ji-young, female lead Yu-mi gives a consistently natural and convincing performance, accompanied by a professional with plenty of dialogue and some flashbacks, the lifelike movie is pretty straightforward and mostly saddening, with a few of good punchlines but also a couple of cliche scenes. But with everything either told or shown explicitly on screen, there’s a lack of subtleness and variety in the way the story is Addams Family review Charlize Theron and Oscar Isaac headline charming animated reboot about celebrating differencesWhile the director does a good job in reflecting and challenging the gender inequalities and prescribed gender roles observed in the South Korean society, there are moments where a couple of scenes - whose appearances are not clearly explained - seem almost a little too random and merely added for the sake of social by Cho Nam-joo’s best-selling novel of the same name, Kim Ji-young, Born 1982 is an average women- empowering story with a potential to be told with more care and up for the YP Teachers NewsletterGet updates for teachers sent directly to your inboxNicola Chan is a former Young Post reporter. A firm believer in education and self-care, she has a strong interest in writing about teenage psychology and mental health. She’s also constantly on the hunt for stories about inspiring students and campus events. She has a master’s degree in Comparative Literature. Starring critically acclaimed actress Jung Yu-mi as the titular character, Kim Jiyoung, Born 1982 is an examination of the many ways misogynistic pressures underlie the everyday experiences of the modern South Korean woman. Adapted from Cho Nam-joo’s book of the same name and directed by female director Kim Do-Yong, Kim Jiyoung markets itself as a tale about and for the Everywoman. Narratively, the film follows much of what occurred in the novel, weaving together the most striking incidents in the novel — told through flashback — in conjunction with the everyday happenings of Jiyoung’s present reality and the representation of her psychosis. The seamless transitions between such scenes streamline the broader theme of the story in a way that differs from the novel, which often appeared disjointed in the seemingly disparate elements that were given overt significance only later on. Throughout its non-linear structure, Kim Jiyoung is constructed as more of a visual portrait of a woman than the society she inhabits. Close-ups on Jiyoung’s reactions center her expressions, mirroring her responses to her daily interactions. The film’s use of its spatial surroundings, in which Jiyoung always appears to be confined to a specific room in the house with her daughter or in a specific domestic occupation, implies the stifling nature of these spaces. These spatial and symbolic meanings add to the visceral portrayal of Jiyoung’s life in the domestic frame. There is a clear departure in tone at the ending of the film, which differs significantly from that of the book. The film’s ending is considerably more optimistic, and Jiyoung’s character is given the space to develop as time goes on. Here Jung Yu-mi’s performance is especially brilliant; she manages to capture not only Jiyoung’s hopeless defeat and quiet desperation within her stances and facial expressions, but also the burgeoning anger that Jiyoung experiences as everyday incidents of sexism accumulate. Whereas the novel seemed to structure itself as more of a clinical account of gender inequality in South Korea in its incorporation of data and statistics, the film humanizes gender inequality in a way that has viewers empathizing with Kim Jiyoung as a character and woman. It is worth noting that Gong Yoo’s role as Jiyoung’s husband Dae-hyun resonates in one of the most memorable performances of the film. Viewers may have seen Gong in his most heroic moments as a self-sacrificing father in Train to Busan, but in Kim Jiyoung Gong plays a man who is inherently good but has unconsciously internalized the misogynistic sentiments of society in his own thinking. He is simultaneously playful and emotional, harsh and kind. These complex determinants of a husband’s identity explain his interactions with Jiyoung and give his character the kind of depth that doesn’t necessarily justify his actions, but takes note of them as a societal issue across the country. This in-depth character portrait is given to many, if not all characters in Kim Jiyoung. There is a tense kind of relief, for example, in Jiyoung’s playful and lighthearted interactions with her siblings, which seem to be the only respite from her everyday life. The backstory of Jiyoung’s mother is given more meaning in her compassion for her daughter; this theme of maternal love in the context of the domestic space is elaborated on through emotionally resonant scenes of concern and anger. Jiyoung’s headstrong sister sacrifices her dreams for her family, but nonchalantly dismisses that sacrifice as familial responsibility. And in a particularly simple but poignant scene, Jiyoung’s brother attempts to figure out Jiyoung’s preferences for bread with Jiyoung’s father, but instead confuses Jiyoung’s preferences for his own. With any comparative reading, of course, it is necessary to acknowledge that a film and a novel are very different mediums and that each may be effective at addressing its subject matter in its own way. Each version of Kim Jiyoung has its imperfections, and the film does possess such imperfections in its somewhat understated nature. Yet while many may turn to the novel version of Kim Jiyoung for a more comprehensive and conspicuous depiction of the gendered dynamics in South Korean society, the film Kim Jiyoung is a more specific account told through the subtle visual symbols in Jiyoung’s life, which is where its merit lies. From a Busan Bank apron — a stunningly mundane and yet powerful representation of Jiyoung’s life that is gifted to Jiyoung by her mother-in-law as a present — to the significance of the spilled coffee on a cafe floor and the subsequent derogatory remarks that ensue, the film’s visual cues of a society’s divisions shape the life of the woman it portrays. As a fictional narrative, Kim Jiyoung’s nuance lies in its specificity. Yet this specificity is what makes the film — and the character it portrays — a truly empowering account of reality. by Cho Nam-JoI knew that the Republic of Korea South Korea and India celebrate Independence Day on the 15th of August. What I didn’t know was how similar the cultures of these two countries were until I read Kim Jiyoung, Born 1982. This million-copy bestseller, written by Cho Nam-Joo, translated into English by Jamie Chang with audiobook narration by Jamie Parker deserves it’s tremendous success and more. The cover with a sketch of a face framed by black hair but no features laid atop a city skyline, highlights by its absence, the commonplace life of its eponymous protagonist, Kim Jiyoung in urban South Korea. Like the simple cover, it is a simple story, simply told. What makes it special, is the way it draws in readers through its matter of fact telling of a story that plays out in every country that is burdened by patriarchy. Jiyoung, a young woman in Seoul starts showing signs of mental imbalance in the autumn of 2015, a year after the birth of her daughter. At first it seems odd to find an educated, modern young woman falling apart despite a comfortable, happily married family life but as the story unfolds, the reasons become apparent. It isn’t always one moment of horrific trauma that makes people crack but the cumulative effects of a lifetime of being at the receiving end of small, thoughtless aggressions, something that girls in Korea and world over routinely face, a series of episodes that can ultimately destroy a person’s well-being. Jiyoung, the quiet, second daughter born in a traditional family where the father goes out to work while her mother stays home, observes and quickly normalises her life in a culture that prefers male children. While she is expected to share everything from a blanket to a treat with her sister, her much-younger brother gets the best portions of food, better clothes, and of course, more attention from their parents and grandmother. “It didn’t occur to the child Jiyoung that her brother was receiving special treatment, and so she wasn’t even jealous. That’s how it had always been.”As we follow Jiyoung’s growth through her childhood years 1982-19940, adolescence 1995-200, early adulthood 2001-2011, and marriage 2012-2015, through ordinary episodes of school and workplace bullying, family expectations before and after marriage, we uncover the myriad ways in which a person’s soul can be effaced. The unfolding of the systematic effects of patriarchy is so gradual that it doesn’t come across as punitive or intentional. It is revealed for what it is, an insidious state of being . Jiyoung’s father and later, her husband, appear to be mild-mannered men of not much consequence. It is the women who are the complicit perpetrators of patriarchy. Jiyoung’s paternal grandmother, who despite her hard life with four sons and an incompetent husband a man with a fair complexion and soft hands, who never worked a day in his life doesn’t resent her him because he didn’t sleep around or hit her. Even though three of her four sons turn out to be ungrateful, her heartfelt wish for the only daughter-in-law, Jiyoung’s mother, who takes care of her is “You should have a son. You must have a son. You must have at least two sons.”Jiyoung’s mother is more than just the compliant meek daughter-in-law. She is the backbone of the family, the one with business savvy and foresight who uplifts the family’s standard of living and enables her daughters but still favors her youngest child, the hardwon growth from a primarily agricultural society to an industrialised one and its impact on society provides the backdrop on which the characters grow and change, thereby enabling the transformation of the country. But they each bear the human cost of their participation in the country’s progress as it plays out in small and large ways in their own periodic intervals, the novel provides footnotes for reference to relevant statistics on government policies and other measures. These helpful asides are not mere digressions. They add veracity to the story of one fictional protagonist who represents her generation. The introduction in Korea of family planning’, a government sanctioned measure to limit the expanding population when combined with easy access to ultra-sound technology leads to sex-selective abortions and an alarmingly skewed gender ratio. The short-sightedness of such programmes in cultures that favour male children and the inevitable impact that serves to further exacerbate existing problems were effortlessly portrayed through Jiyoung’s life. Whether it’s her interaction with bullies or perverts or outright chauvinists, Jiyoung’s story hits uncomfortably close to makes the story work is the clinically detached narration. I admired the absence of sentimentality that kept the story moving briskly as well as the simplicity of the prose that stayed true to its purpose of just telling the story. I first heard the audiobook and then read the print version. On both occasions, I found myself getting worked up, my short breaths fanning my anger at the way people make choices to conform to the bias of society, cleanly sidestepping responsibility for all the wrongs that follow. Even as I wrote this review, I had to stop and take deep breaths to continue. What makes the novel real is not just Jiyoung’s struggle to make her way through a world that seems to be systematically wired with landmines to trip her progress, but the fact that at several points, she comes across women who in their own limited way, try to make a difference. Whether it is a young classmate in school who decides to stand up to an unfair system that puts girls at a disadvantage or the stranger on the bus who rescues her on a dark night at a bus stop and tells her “It’s not your fault”, there are women who work within the system to uplift one woman at a time, through words or actions, however trivial they may favorite character was Jiyoung’s mother, herself a victim of a generation where female siblings willingly worked in their youth to put their brothers through school and later spent their adult life supporting their own family. With her entrepreneurial spirit and courage, she brings financial stability to her home and takes a stand to enable her daughters to have a better life than what she could do for herself. But in the end, she is a victim of her circumstances and her biases, just like the therapist who tries to piece together Jiyoung’s case in the context of his own life. The strength of the story lies both in the telling of it and in it’s conclusion that the ills of society cannot be condoned, even if it is co-opted by the majority. What it does not do is provide a neat solution, either for Jiyoung or for the reader. My opinion With translations into eighteen languages, this book should be made essential reading for girls, boys, and their parents all over the you read this book? Or come across similar books by writers from other countries? ? Drop me a note in comments.

kim ji young born 1982 review