KimJi Young, Born 1982 - Sinh Năm 1982 Sinh Năm 1982 là cuốn sách kể về cuộc đời của một người phụ nữ bị chứng rối loạn tâm lí sau sinh, tên là Kim Ji Young. Câu chuyện mở đầu bằng những dòng giới thiệu về cô - ở thời điểm hiện tại. KimJi-young, Born 1982 shows in a thoughtful and subdued manner how prevalent gender roles and discrimination are in South Korean society and the consequences they have on ordinary women. The movie follows the everyday life of Ji-young ( Jung Yu-mi ), who is an ordinary housewife. Her husband, Jung Dae-hyun ( Gong Yoo ), notices that Ji-young KimJi Young, Born 1982. 1,041 likes · 1 talking about this. Kim Ji-young, Born 1982 is a fiction novel by Cho Nam-Joo. Published by Minumsa in October 2016, it has sold more than 1 million copies as KimJiyoung, Born 1982 : The international bestseller. Kim Jiyoung is a girl born to a mother whose in-laws wanted a boy. Kim Jiyoung is a sister made to share a room while her brother gets one of his own. Kim Jiyoung is a female preyed upon by male teachers at school. 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. R4Wydog. 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. “What do you want from us? The dumb girls are too dumb, the smart girls are too smart, and the average girls are too unexceptional?” These are lines in Kim Jiyoung, Born 1982 by Cho Nam-joo, the Korean novel hailed by The Guardian as a “South Korean MeToo bestseller.” With the recent release of the English translation by Jamie Chang, the groundbreaking feminist novel is now available to readers who seek to understand how society has designed the struggles of the modern Korean woman. The book focuses on the silent and subtle injustices experienced by a woman named Kim Jiyoung, whose name is implied to represent the Korean “Everywoman.” Cho’s narrative tracks the progression from childhood to adulthood, with inequality as the central aspect of Jiyoung’s life. These stories, which read more like third-person anecdotes, are interspersed with commentary and statistics that problematize how gender inequality manifests in South Korea. To that effect, Cho’s reportage emphasizes the broader contexts of sexist practices and institutions, while Jiyoung herself serves as the individual microcosm where daily sexism becomes apparent. The almost “hybrid” nature of the book is instrumental in illustrating the dynamics of womanhood. It is here that Kim Jiyoung evolves beyond a specific literary character and is given greater depth as the representation for a societal issue. As a child, Jiyoung is forced to endure a classmate’s daily harassment under the justification of “boys will be boys.” As a young adult, she cannot get hired because she is a woman; when she does get a job, she cannot get promoted. When she is married, she is forced to sacrifice her job to be a wife, which is implied to be the “only” job that she needs. When she is pregnant, she is told she is entitled for arriving to work late. When she becomes a housewife, her domestic labor is demeaned. At its core, Kim Jiyoung, Born 1982 expresses a woman’s struggles with what has become mundane and mediocre, products of a society that relegates women to inferior positions. These instances of sexism express the book’s central idea that not only is it difficult to be a woman, but also that cultural values have influenced a woman’s identity. As such, these values have become embedded into the very fabric of South Korean society. They have come to determine how women are allowed to live. There are so many poignant moments in the novel that it is difficult to only talk about one. Rather, it is necessary to examine the entirety of these moments as a composite whole. Within Jiyoung’s experience, both the mundane and the mediocre stem from the denial of equal opportunity and upward mobility for a woman. Yet they are also reflections of how for the Korean woman, mediocrity becomes normalized. Jiyoung experiences the imposition of gender constructs through both microaggressions and blatant attacks. Her subliminal acts of rebellion against these constructs involve her assuming the role of different women she has known throughout her life, including her mother. She is suspected to have postnatal depression, but it is psychosis that she has been driven to by a patriarchal society. What Cho does superbly well is create an atmosphere of suffocation and frustration. She evokes this all-consuming sense of helplessness within the emptiness of Jiyoung’s life; there is a constant idea that for Jiyoung, there is no way of dismantling the patriarchy other than losing the identity that she has created within it. The disintegration of Kim Jiyoung’s identity becomes a kind of rebellion, and the chronological structure of the book adds to its power. The reader does not just witness Jiyoung’s sadness as a housewife, but the quiet anger throughout her life as a woman. The English translation of Kim Jiyoung, Born 1982 is admittedly not without shortcomings. There are parts where the language becomes so stiff that the book is difficult to truly comprehend. At times, the dialogue is awkwardly stilted, one of the issues that comes with translation as a process. But Chang handles Cho’s simplicity with skill, rendering the same ideas that were so powerful in the original. With Cho’s sensitive and forceful writing, Jiyoung becomes more than the profile of a Korean woman. She becomes universal, an expression of not only the “Everywoman” of injustices, but the “Everywoman” of human experience. “What do you want from us?” Jiyoung asks. Cho never gives an answer. 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. From time to time, she will be seemingly taken over by another person’s spirit, such as her mother, or deceased grandmother, and speak as if she is that person rather than Ji-young, referring to herself in the third person and taking on personality quirks of whoever is “possessing” her at that time, like wanting to drink beer. Afterwards, Ji-young has no memory of it, and puts the lost time down to simply being tired following childbirth. Dae-hyun naturally is worried, thinking she may be experiencing postpartum depression, and asks her to visit a psychiatrist, although he doesn’t tell her she has been acting “possessed” from time to time. From here, the film jumps between important events of Ji-young’s past and the unfolding story of the present to flesh out Ji-young’s character, her influences, and how she came to be the woman she is today. Societal and Individual Misogyny For me, there were basically two main ingredients to the film the dynamics of the family both Ji-young and Dae-hyun’s parents and siblings, and how difficult it is for an ordinary woman just to exist in such a male-dominated society. Both of these aspects worked very well, for me. The performances of all the characters are excellent, especially Ji-young and Dae-hyun, you can really feel the warmth, the worry, the love and the pressure of it all. Ji-young prepares dinner at Dae-hyun’s parents house, her mother-in-law supervises and the men relax in the living room The focus on how society is skewed towards men is handled very deftly as well. It’s not exactly subtle, but neither is it a simple “MEN BAD” message. While some men do behave very poorly, it’s not always out of malice, but rather an insidious and instilled attitude baked into society. It can be as simple as an expectation of who will be cleaning or cooking dinner, or as serious as sexual harassment. For example, Ji-young feels pressured into being a staying at home mother and bearing the brunt of child-rearing simply because if Dae-hyun applied for paternity leave at work, it would become exponentially more difficult to be promoted after he returned. This, combined with women’s earning power being less than men’s anyway, essentially traps Ji-young into the role of stay-at-home mother. It’s not Dae-hyun’s fault that society is structured this way, but even so he’s not perfect either. Individually, a person may be caring and supportive, but it’s a good deal harder to free yourself from the constraints placed on you by society, and unlearn prejudices widely propagated and endlessly perpetuated by that society. Of course, the film is focused on South Korea, but this type of attitude and male-skewed society is prevalent the world over. Dae-hyun prepares to leave for work, Ji-young stays home with their child. The feeling I got watching this film wasn’t that I was being chided for participating in society as it is, but rather the importance of opening your eyes to what’s going on in the world. It doesn’t explicitly tell you that you yourself need to change whether you’re a man who is profiting from how society is structured or you’re helping keep these kinds of attitudes alive, be you man or woman, but rather shines a light on the types of attitudes and practices that do need to change, on a societal level. It gives you an idea of the depth and breadth of issues women may face, simply for existing. Through this, hopefully you would come away from the film feeling outraged, or enlightened, or motivated to change things on your own. And hopeful that things can change. Maybe some combination of all of that. I’ll probably think about this film quite often, and I do hope I can help contribute to a fairer society, in whatever way I can. 8/10 Discover More Film Positivity! 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. 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

kim ji young born 1982 review