KimJiyoung, Born 1982. Kim Jiyoung is a girl born to a mother whose in-laws wanted a boy. She is a sister made to share a room while her brother gets one of his own. A female preyed upon by male teachers at school. A daughter whose father blames her when she is harassed late at night. A good student who doesn't get put forward for internships. 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 Cho Nam-Joo, trans. from the Korean by Jamie Chang. Liveright, $20 (176p) ISBN 978-1-63149-670-7 ชื่อภาพยนตร์ KIM Ji-Young, Born 1982 / คิมจี-ยองเกิดปี '82 / 82년생 김지영 ผู้กำกับภาพยนตร์: Kim Do-Young/คิมโดยอง ผู้เขียนบทภาพยนตร์ : Jo Nam Joo (novel), Yoo Young A, Kim Do Young ChoNam-Joo's novel 'Kim Jiyoung, Born 1982' centers on a woman who goes about her daily life in South Korea. It sounds simple enough. Yet the story—about everyday sexism that women face in their personal and professional lives—is moving and makes you think. It narrows in on how women, in South Korea and the world over, face KimJi-young: Born 1982, seorang wanita biasa berusia 30-an, tiba-tiba menunjukkan tanda-tanda dirasuki oleh orang lain seperti almarhum ibu dan kakak perempuannya, dan cerita orang-orang yang terhubung dengannya. Tanggal Rilis : 20 November 2019; User Reviews. Mdlnol : The movie was beautiful. although it was a bit slow-paced, there were a 4Q1My0H. 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. The Long Plot, Sans Spoilers Jung Yu Mi plays Kim Ji-Young, a regular mom who left her career to focus on raising her child. Gong Yoo plays Jung Dae Hyun, Ji-Young's caring husband. Conflicts arise in and out of the household when Ji-Young gets afflicted with a psychiatric condition, where she "turns" into another person those close to her, like her mom and sister. Throughout the movie, the struggles of women in a patriarchal society are also shown, such as workplace issues, sexual harassment, and family expectations. The Short, Honest Plot A peek into the life of a stay-at-home mom who was a former career woman. She was ordinary...except that she has a loving hubby that looks like a god and whose only flaw, really, is his bossy AF mother and a psychiatric condition. The Actors And Where You Last Saw Them Jung Yu Mi as Kim Ji-Young Prior to this film, Yu Mi starred in the movie Psychokinesis 2018 with Ryu Seung Ryong and in the series Live 2018 with Lee Kwang Soo. ADVERTISMENT - CONTINUE READING BELOW ↓ Gong Yoo as Jung Dae Hyun Gong Yoo's most recent acting projects before this film were Train To Busan, The Age Of Shadows, and Goblin all in 2016. Did You Know? 1. This is Yu Mi and Gong Yoo's third movie together! The previous ones were Train To Busan and Silenced 2011. 2. The pair also belong to the same entertainment agency called Soop, which manages other big K-drama stars like Bae Suzy, Choi Woo Sik who was also in Train To Busan, and rom-com queen Gong Hyo Jin. ADVERTISMENT - CONTINUE READING BELOW ↓ 3. Suzy promoted the movie of her sunbae labelmates on her IG, but this didn't sit well with people who negatively viewed the movie's feminist theme. 4. Kim Ji-Young Born 1982 was actually based on a book of the same name. The novel, written by Cho Nam-Joo, sold over a million copies in Korea but also received criticisms because of the sensitive issues it touched upon. ADVERTISMENT - CONTINUE READING BELOW ↓ 5. Seo Ji Hye who played Seo Dan in Crash Landing On You and Red Velvet's Irene both revealed having read the novel...and both drew flak for it. What My Friends Think "I watched Kim Ji-Young primarily because I'm a huge Gong Yoo fan. I am so grateful I came out with more than my share of Gong Yoo goodness. It's a story about the everyday woman, often trapped with society's long-established rules and expectations. Every woman would find a piece of herself in Kim Ji-Young. I liked that the film showed pieces of her life randomly, and how it narrated how her current actions are effects of previous life experiences, and how society—from her family, work, and even her husband—had a hand in making Kim Ji-Young 'broken.' The movie doesn't want to present a clear-cut solution to an ingrained cultural and societal problem, but wants to raise awareness so that women will find her support system. And in the movie, Kim Ji-Young gets that. She actively seeks it. And I wish that every woman does the same. ADVERTISMENT - CONTINUE READING BELOW ↓ "The film left me with much appreciation for my mom, to fellow women who choose to live outside of herself every day—choosing her kids, peace, and family. Most of all, I gained a much deeper sense of respect for myself—how strong, worthy, and enough I am." —Agatha "The movie tackled a lot of issues most women have to face on a daily basis, which should not be the norm. Cameras in bathroom stalls, condescending male peers, having to sacrifice career for the family or vice versa, being expected to serve in the kitchen, being judged [when you're still single in your 30s]—these are just some of the issues shown in the movie. Most women just learn to adjust, to give in, to sacrifice, and maybe it's high time that society recognizes that men can and should adjust, too. ADVERTISMENT - CONTINUE READING BELOW ↓ "And in the end, sometimes, all we need is for someone to listen. We don't need someone else to solve our problems for us all the time. A little support, a listening ear, and a lot of love can go a long way. Kudos to the author for writing such a novel despite being in a mostly patriarchal society, and for the producers for making it into a movie. This enabled a lot more people to read/watch it around the world." —Costa What I Think Pinays would appreciate this movie because it's very honest and relatable. The setting is Korea, but a lot of issues are encountered by Pinays especially Pinay moms, too. You're probably familiar with the career-versus-family debates, the meddling in-laws, the judge-y people when someone brings their noisy toddler to a cafe. It'll be a great chance for you to reflect and just know that you're not alone in your struggles. ADVERTISMENT - CONTINUE READING BELOW ↓ Another great thing about it is how the husband chose to deal with his wife's condition. He didn't impose anything on her or pushed her to seek treatment. He patiently cared for her, helped her whenever he could, and waited for her to help herself. I believe it's the best approach whenever you're dealing with a partner struggling with a mental health issue. I didn't expect to like the movie because it lacked kilig and heart-stopping plot twists aka prerequisites for my favorite dramas these days. But in the end, Kim Ji-Young made me feel empowered. It's a woke portrayal of an average woman and it acknowledged her struggles and strengths—qualities that make her extraordinary and admirable. ADVERTISMENT - CONTINUE READING BELOW ↓ I'd Recommend It To Everyone, really, for ~*awareness*~ but most especially for married couples or those who are thinking about getting married Follow Ginyn on Instagram. 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. 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.

kim ji young born 1982 review