Commenced in January 2007
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A Confucianism Observed in Disaster Films of East Asia

Authors: Timothy Yoonsuk Lee, Jinhwan Yu, Somi Nah

Abstract:

Hollywood has produced various blockbusters on the subject of disasters. Entering the 2000s, disaster films began to be produced in the East Asian region as well, and as most of them were successful, disaster films have settled as a popular genre in the region. East Asian disaster films utilize a plot structure similar to Hollywood films but, at the same time, represent East Asian people-s unique value system. East Asian people-s social behavior pattern defined as collectivism is a characteristic that distinguishes this region from other cultural regions. In order to examine Confucian culture in disaster films on the premise of the difference, the author conducts this research as follows.This study first reviews the concepts disaster and disaster film, and understands the genre through analyzing the narrative structure and style. In addition, it discusses collectivism, a characteristic of the East Asian region distinguished from the West, and investigates Confucian culture in films and examines differences among Korean, Chinese and Japanese Confucianism. Films selected for this study are Tidal Wave (Korea, 2009), After Shock (China, 2006), and The Sinking of Japan (Japan, 2006). Using the characters in these films, we analyze how Confucian thought is described and reproduced.

Keywords: Confucianism, Disaster Film, East Asian Films, Three Basic Principles and Five Moral Disciplines in Human Relations

Digital Object Identifier (DOI): doi.org/10.5281/zenodo.1335300

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References:


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[2] Sunggon Kim, "Hollywood, The Mirror of Twentieth Centuries Culture", Woongjin press, 1997, p. 31.
[3] Sunggu Lee, and Youngkwan Lee, "The Movie Glossary", Korean Film Council, 1990, p. 357.
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[5] Disaster and Safety Management Act, Law No. 10,467, Article 3 (Definition)
[6] Sunggu Lee, and Youngkwan Lee, "The Movie Glossary", Korea Film Council, 1990, p. 357.
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