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Helen Lee (director) : ウィキペディア英語版 | Helen Lee (director)
Helen Lee ((朝鮮語:헬렌 리); born circa 1965) is a Korean-Canadian film director. Born in Seoul, South Korea, she emigrated to Canada at the age of four and grew up in Scarborough, Ontario. Interested in film at a young age, she took film studies at the University of Toronto and, later, New York University. While in university she was influenced by gender and minority theories, as reflected in her first film, the short ''Sally's Beauty Spot'' (1990). While continuing her studies she produced two more films before taking a five-year hiatus to live in Korea beginning in 1995. After her return, she released another short film and her feature film debut, the critically panned ''The Art of Woo'' (2001). She continues to produce short films, although at a reduced rate. Lee's films often deal with gender and racial issues, reflecting the state of East Asians in modern society; a common theme in her work is sexuality, with several films featuring interracial relationships. ==Early life== Helen Lee was born in Seoul, South Korea, around 1965, but came to Canada when she was four, a year after her parents. She was raised in Scarborough, Ontario, having moved there in the mid-1970s. As a child, she became interested in black-and-white films from the Golden Age of Hollywood. She later wrote that the 1960 film ''The World of Suzie Wong'' spoke to her racial identity as an Asian Canadian, an experience she found to have influenced her filmmaking; excerpts from the film were included in her first short. Lee began her tertiary studies at the University of Western Ontario, taking business, before transferring to the University of Toronto; there she majored in English literature and film studies. By 1989 she was attending New York University (NYU), studying under Homi K. Bhabha, Faye Ginsburg, and Mick Taussig, with a scholarship. During this period she was influenced by Trinh T. Minh-ha's paradigms on women and ethnicity, as expressed in the 1989 book ''Woman, Native, Other: Writing Postcoloniality and Feminism''; these were later expressed in Lee's first film. She later described Minh-ha as at one point being her "ultimate role model".
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