Masculinity
The sets of masculinities depicted by the subject characters (Detective Woo, Detective Kim and Sungmin) are coherent with those of the corrupt cops and the robbers as well as the crime incidences. First, the movie titled as Nowhere to Hide relays an outstanding attribute where crimes arise from the male characters.
On the other hand, the investigators are aspired by the rise of the crimes that dictate the roles of detectives in the society. Essentially, men assume the role of serving and solving the recurring occurrences (Seung, 2005). In various instances, the interrogation of the suspects involves fierce strategies while retrieving information. The violence is apparent when a suspect is a male, which leads to bloodshed as men do not release information easily.
Other instances of masculinity observed within the movie involve fighting between the men. They use power and strength to achieve their aims. This aspect is not only revealed by the detectives while arresting suspects, but also by the suspects and robbers.
The outstanding character of Detective Woo is on his guts and fearlessness to face the prevailing situation. Even though the detective is not too bright, his partner (Detective Kim) becomes the exact opposite with a great reasoning capacity. The two characters are challenged with the intelligent, resourceful, daring, and skilled villain namely Sungmin.
Editing and Visual Effects
The movie uses various repeated tactics involving the application of classic Korean music fitted into the right contexts of leisure experienced by the characters (Seung, 2005). For instance, the rock music performed by Cherry Filter has been used in it.
Nowhere to Hide
Masculinity
The characters of the film titled as Nowhere to Hide relays various personalities of masculine nature. These personalities are revealed by the instances where men take major roles in committing crimes. There are aspects of untrustworthiness where cops associate with the robbers for personal benefits.
Furthermore, the most pertinent villain namely Sungmin is a man who does not only fight with Detective Woo and Detective Kim, but he also harbors illegal crime networks preserved through confidentiality and loyalty from his followers. The cops and the robbers are involved in fights amidst themselves. These masculine characters have been portrayed throughout the movie as crucial aspects.
The detectives fight out of anger while bringing the male suspects into custody. This trait is also practical when the detectives try to retrieve information from the suspects. On other instances, it is evident that Sungmin has the guts to act against the law through such actions as killing people and robbing (Seung, 2005).
This personality is coherent with the one of Detective Woo who does not care about the consequences of investigating against the law. He assumes that his goal is to protect the public and eliminate the villains by any possible strategy. However, Detective Kim is reasonable and cares about these legal strategies.
Editing and Visual Effects
The organization of this movie from the analysis of the basic issues of crime activities is not fully coherent. For instance, it is not clear why Sungmin becomes the most pertinent villain among others. Probably, the director can show why the prevailing crime being discussed is more vital in the movie than others.
However, there is a strategic placement of classic music within the episodes and clear pictures edited in a contextual manner. These are backed with quality soundtracks among other features. The movie has been recorded in a real context without much enhanced editing except at the instances of matching clips and inserting the minor attributes such as words.
Assignment 2
Comforts and Consequences
The movie titled Aimless Bullet depicts the various attributes characterizing family struggles and the part played by each person (Shin, 2005). For instance, Song Chul-ho takes responsibility of the extended family, since he is the oldest brother. The responsibility becomes overwhelming, since his income is low to sustain the whole family.
This responsibility disallows the chance to treat the dental problems, arouses differences between the brothers, and forces the younger sister towards prostitution. The young brother is not bothered about the needs of the family. Therefore, he plays as the villain who disorients the moods of other family members at his comfort. Essentially, he rarely bothers about his efforts in securing a job that can provide for him as well as the whole family.
The pregnant wife of Song is worried about the well-being of the husband (Jeong, 2006). However, the husband assumes that everything is going on properly to avoid stressing her during the pregnancy. Furthermore, the children do not only demand their father to provide for them, but also seek him to create time for family leisure.
It is apparent that the younger brother is comfortable because the family responsibilities are at the hands of another person. The younger sister becomes a prostitute due to bad company (Shin, 2005). Whereas all these occurrences appear, the mother of Song has not been considered to have real comforts as she suffers from a mental illness. Her comfort is dependent on the assistances that she gets from the family members.
References
Jeong, K. (2006). Nation Rebuilding and Postwar South Korean Cinema: The Coachman and The Stray Bullet. Journal of Korean Studies, 11(1), 127-162.
Seung, H. (2005). Toward a strategic Korean cinephilia: a transnational hollywood melodrama. Detroit: Wayne State University Press.
Shin, J. (2005). Globalisation and New Korean Cinema. Edinburgh University Press, 4(11), 51-62