🦁 Kim Ji Young Born 1982 Review Your phrase is magnificent

A review of Cho Nam-joo’s Kim Ji-young, Born 1982 I’ve had this book for over a year, but I finally got the chance to sit down and finally read it. I’d heard a lot about it, because there was a movie starring the ever-so-famous Gong Yoo, and because it stirred an entire feminist debate in the country, one that exposed the misogyny rooted in Korean history. As I read it, I had many different thoughts about what was going on, and I was honestly kind of conflicted about the hype around this book. I see why it’s an important novel in the grand scheme of things, but I also wanted more from it. Purchase a copy of the book break this down by category. Book BlurbIn a small, tidy apartment on the outskirts of the frenzied metropolis of Seoul lives Kim Jiyoung. A thirtysomething-year-old “millennial everywoman,” she has recently left her white-collar desk job—in order to care for her newborn daughter full-time—as so many Korean women are expected to do. But she quickly begins to exhibit strange symptoms that alarm her husband, parents, and in-laws Jiyoung impersonates the voices of other women—alive and even dead, both known and unknown to her. As she plunges deeper into this psychosis, her discomfited husband sends her to a male a chilling, eerily truncated third-person voice, Jiyoung’s entire life is recounted to the psychiatrist—a narrative infused with disparate elements of frustration, perseverance, and submission. Born in 1982 and given the most common name for Korean baby girls, Jiyoung quickly becomes the unfavored sister to her princeling little brother. Always, her behavior is policed by the male figures around her—from the elementary school teachers who enforce strict uniforms for girls, to the coworkers who install a hidden camera in the women’s restroom and post their photos online. In her father’s eyes, it is Jiyoung’s fault that men harass her late at night; in her husband’s eyes, it is Jiyoung’s duty to forsake her career to take care of him and their child—to put them painfully common life is juxtaposed against a backdrop of an advancing Korea, as it abandons “family planning” birth control policies and passes new legislation against gender discrimination. But can her doctor flawlessly, completely cure her, or even discover what truly ails her?Content/PlotKim Ji-young is the main character of this novel, and we follow her throughout how she got to be the way she is in the modern era. She was born in an uneventful household, but there was blatant favoritism in the house towards the youngest son. We follow Ji-young from the eras of her life, from childhood, her being bullied in middle school, to college, then to her job at a small marketing firm, then her married life where she quits her job to be a stay-at-home mom. We’re clearly meant to sympathize with Ji-young, because we start out with her being a depressed mother who is embodying the spirits of the women in her past. She is sassing her in-laws in Busan, but she is also has just given up towards her situation. It’s really sad, and if you don’t get it, you don’t get it. This is the situation of women not only in Korea, but throughout the world. We follow her throughout her life. That’s basically the novel. She is a kid bullied by the boy who likes her, she goes to college to study marketing, struggles to break into the workforce because of her gender. We have a bunch of statistics and studies cited in classic Chicago style at the bottom of the pages, giving us as readers a glimpse into the reality of the situation. This isn’t just fiction. This is the story of many women throughout Korea. Characters Kim Ji-young, in my opinion, is quite a universal character, despite the novel’s Korean context. She is a depressed mother who has quit her job in order to care for her newborn daughter, and, suddenly, she finds that her life lacks a purpose upon quitting her job. We get such a hyper focus on Ji-young, one that made me a bit sad and frustrated at times. I was really interested in her sister because she gave up on her dreams of broadcast journalism in order to become a teacher, which is what her mother had pushed her towards. Ji-young and her mother, in the novel, claim that this is because this is truly what her sister wanted. But is it really? We don’t hear much of her siblings outside of the childhood arc, and I wanted to know more about them. I also wished we saw more of Jung Dae-hyun, Ji-young’s husband. Story-wise, we jump from her dating several different men, then we randomly are placed into a scenario where she is engaged to Dae-hyun. Dae-hyun, too, is clearly an important part of her life, but we don’t get to see their meeting, and he obviously cares somewhat, as he took her to a psychiatrist. Writing Style As for overall structure, this is set up in the basic three-arc structure, and it is previous obvious from the way the novel itself is formatted. We start the beginning of the novel from the current era, as Ji-young seems to embody the women from her past and lash out against the patriarchal figures in her life. This is in third-person omniscient narrator, which is why we get such a focus on Ji-young as a character. We are tracking her throughout her life, and we get a small glimpse into her head, but, as a character, we only really get to see her fleshed out as an individual. That really got to me, because while I do love how we get a little bit about the female office manager or the friend she had in college, I wanted it to go deeper. We get one woman’s life, but there are so many other stories she herself is shielded from. Like what if Ji-young had more meaningful dialogue about all of this? Speaking of dialogue, there was very little of it throughout the novel. I found that super interesting as a writer, because often we are told that dialogue is a necessity to continue. Something I also found really interesting was the incorporation of actual statistics and studies from academic studies about the status of women in Korea. As a researcher myself, I appreciate it, but if I were a casual reader, I’m not too sure if that would’ve made sense in the placement of the novel. It’s something we’re not used to as readers, I feel like. I also was confused at the ending—we switch to the psychiatrist’s POV in first person. That really confused the heck out of me, and it was a struggle to get through it, because, for the first time, we get a man’s thoughts. Overall Thoughts This was a pretty short read. I’m a fast reader, so by sitting down and actually focusing on it, I managed to finish the entire book by the end of a single night. It’s a good, and very important story to tell, but I wanted so much more from the novel, just like I said before. It’s a bit short for a novel, and I don’t know how exactly I feel about that. I totally get that this is supposed to be representative of so many women’s experiences, but Ji-young just kinda comes across as a bit naive. And, perhaps, that’s the irony in all of this, that she noticed and saw that so many women weren’t getting to live the lives they truly deserved, but also continued to go down this path of a society built for men. It’s super depressing, just like life, to see her fall to the system at the end of the day without a fight. She does say she fought her husband against this, but I honestly would’ve preferred to see her keep fighting until the end. It’s an interesting and decent read, but I wouldn’t classify it as a really good one. It will, however, be a good case study novel for gender studies and history students. As a casual reader, I wouldn’t be like “hell yeah” to this novel, but instead I found the academic part of me more interested in the novel as a case study. Rating Follow me on Instagram or Goodreads below for more updates!

สร้างจากนวนิยายขายดีในเกาหลีใต้Kim Ji-Young, Born 1982 หรือ คิมจียอง เกิดปี 82 ซึ่งเขียนโดย โชนัมจู นักเขียนบทรายการโทรทัศน์เชิงสังคม 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 MengangkatTopik Sensitif. Review Kim Ji-young Born 1982. Kim Ji-young, Born 1982 mengangkat topik sensitif: feminisme. Feminisme masih menjadi hal baru bagi masyarakat Korea Selatan yang konservatif dan menjunjung tinggi kaum laki-laki. Perempuan masih dianggap manusia nomor dua, baik di keluarga maupun lingkungan kerja. A story of Kim Ji-young, a young woman in her thirty's, discovering both the struggles and the strengths of being a woman. Starring- Jung Yu-mi and Gong Yoo. Directed by Kim Do-young Mar 29, 2023 • 3 min read Movie Kim Ji-young, born 1982 1982년생 김지영Director Kim Do-youngWriters Yoo Young-ah and Cho Nam-joo author of the novelCast- Jung Yu-mi, Gong Yoo, Kim Mi-kyung as Mi Sook Ji Young's mother, Gong Min-jeung and Kim Sung-cheol as Kim Eun-young and Kim Ji-seok Ji Young's sister and brother, Lee Bong-ryun and the movie-Kim Ji-young, born 1982 or 1982년생 김지영 is a 2019 movie adapted from the bestselling novel under the same name written by author Cho Ji-young, born 1982 is a story of Kim Ji-young, an ordinary woman in her 30's, who suddenly shows signs of being inhabited by women around her like her mother, her older sister, her best friend, and also talks about stories of people connected to her.*This review may contain spoilers. If you have already watched the movie, please continue reading. If you haven’t watched the movie yet, you can still continue reading or you can come back to the review later.What I loved about the movie-The movie is adapted from the novel and they have presented it beautifully. The movie is fabulously made. It's every woman's story, isn't it? All of ours. My sister suggested that I read this book and I loved it with all my heart. And the movie, I loved it just as much. All the additions in the movie blended seamlessly into the story. The movie does justice to the book. I wouldn't say tribute but the book and the movie are a gift to the women around the are addressed as someone's mother, someone's wife, someone's daughter, etc. We women want to be all that and someone else, someone much more. We want to be ourselves and feel enough. We do not need to be embarrassed, do not need to feel less, and do not need to feel like we owe our lives to anyone we be proud to to be born as Women? Shouldn't others be proud that we were born as a woman too?The world convinces you into thinking that you are not enough, that you need to compromise for someone else's benefit. If I continue to live the way others expect me to, I would feel like I am living in someone else's body, living someone else’s have a lot of empathy for each other. I watched an advertisement a while ago where two women are seen complementing each other out of the blue. A kid watching this entire scene asks them why they were doing so, and one of the women replies by saying that it's us women who need to uplift each the Characters, the Actors, the Writer and the DirectorThe MVPs of the book are Cho Nam-joo, the author and all the women characters that she poured so much life into. And the MVPs of the movie are director Kim Do-young and all the women characters. Each woman in the movie has so much to tell and so much to teach. Jung Yu-mi as Kim Ji-young and Kim Mi-kyung as Mi-sook are so pure and raw. Movies like this prove how extraordinary these women are as actors and as individuals in general. They are so imperfectly perfect in their portrayals, of the lives and the struggles of all the women out there and they are the best at representing are a few changes in the movie compared to the movie. Gong Yoo's character Dae-hyun is extremely supportive in the movie, in spite of all the inhibitions he holds and all the prejudices he has. Dae-hyun is willing to change himself and his thinking and support his wife and her growth despite the struggles they are going to face together. Gong Yoo is admirable in his portrayal of movie showed a change in the attitude and behaviour of Ji-young's father and brother and it is such a wonderful addition as movie consists of a phenomenal star cast and each and every actor is Kim Do-young- I do not have enough words to express my gratitude to Kim Do-young for creating this beautiful piece of art. It takes a lot of courage to take up a topic as sensitive as Kim Ji-young and put it out into the world. She is representing all the women and the movie is like a gift from a strong, talented, brave and hardworking woman to the women of the world. I am looking forward to more amazing and extraordinary work from director Kim Do-young because the world needs them more than I can all the Women of the world,Thank you for teaching me that Women are amazing human beings. Thank you for teaching me that Women are strong, independent and courageous and when they are supported, uplifted, encouraged and empowered, they are capable of greater you are a book lover please do read the book and also watch the movie. But if movies are your thing, I highly recommend that you watch this astounding creation. KimJiyoung, Born 1982 contains examples of:. Familial Bodysnatcher: Jiyoung is possessed by her mother at the start of the book.; Family Versus Career: Appears frequently, since the book's main theme is sexism.. Jiyoung's mother wanted to be a teacher, but she had to quit school to go work at a factory to support her brothers' schooling.

Based off the controversial autobiographical novel of the same name, “Kim Ji-Young, Born 1982” is a heart-wrenching uncovering of what it means to be a woman in a conservative patriarchal society. The movie stars veteran actors Gong Yoo Dae Hyun and Jung Yu-Mi Kim Ji-Young as leads, who have formerly worked together on the award-winning film “Train to Busan”. Following the protagonist Kim Ji-Young in the 80’s, the general storyline revolves around her troubled mental health that causes her to have lapses where she speaks as if she were her deceased grandmother or friend. Given the fame the feminist novel has garnered before the release of this film, it is expected that what matters more is not the storyline, but how the details of the story are presented through the female lens. With a focus on mother figures, the film’s narration forces us to critically examine stereotypical notions of a woman’s duties in the domestic sphere by highlighting its occurrence in daily life. For instance, we constantly see a favouritism towards men displayed by both male and female characters, especially from Dae Hyun’s mother who expects Ji-Young to work tirelessly throughout dinner preparations while her son sits idly. It is likely that many will identify with or have seen similar experiences, making the film’s impact all the more significant without having to explicitly state sexist tendencies of a conservative society. Aside from highlighting prominence of sexism in the everyday, the movie also expertly portrays how society’s patriarchy has progressed through the years. Through interactions between three generations of characters, we get to understand the motivations behind their actions, and the grievances as a result of sexist ideas. The use of Ji-Young’s condition to provide a voice for oppressed women was a well-done narration that gives greater insight into the conservative Korean society. What the film does particularly well is their use of male characters — while it is undeniable that Dae Hyun and Ji-Young’s father care for Ji-Young greatly, they are still susceptible to sexist tendencies that they may not have even been conscious of. This brings into focus that inequality may not always be born from hatred, but from the lack of awareness. The film also has skillful cinematography that leans towards an arthouse style, with jarring transitions that creates tension and draws audiences into the tortured minds of the characters. The only gripe would be that the time skips can cause some confusion in terms of characters; it becomes hard to name who’s who after various characters are introduced in a short time. Aside from that, the film was overall a thought-provoking watch that, while controversial, presents an empathetic depiction of women in Asian society that is not often highlighted. You can expect to become emotional throughout various points of the film, and reflective after. Although not necessarily an exciting movie for mass audiences, it is definitely a gripping watch, especially if feminist topics and societal issues are within your field of interest! Running Time 120 minutesThe Seoul Story’s Ratings “Kim Ji-Young, Born 1982” will be shown in selected cinemas mentioned in the poster above, from November 14th onwards. We would like to extend our huge thanks to Purple Plan for the invite! Written by CheyennePicture Credit Purple Plan — PATRONISE US TWEET US LIKE’ US WATCH US

Whenit released in 2016, nobody thought former scriptwriter Cho Nam-joo's Kim Ji-young , Born 1982 would go on to become such a spectacular success, as well as a magnet for controversy. Two years later, it became the first Korean novel in nearly a decade to sell over 1 million copies. The book began multiple overdue debates on feminism and

Slowly unravelling the patriarchy in a common woman’s life against the backdrop of a developed South Korea, Kim Ji-young Born 1982’ is a story millions of women can relate to. A combination of facts and fiction, it works to show the pressing reality of women in Korea and, at large, the world. While the author Cho Nam-joo faced huge backlash for the novella, the footnotes backing up the statistics she has used stand by her against every negative commentary regarding the story’s accuracy. Considered to be a large inspiration for the MeToo movement in South Korea following the murder of a woman at the Gangnam metro station in 2016, it’s an international bestseller and one of the first feminist writings emerging from the narrative starts with Kim Ji-young’s husband observing a gradual change in Kim Ji-young’s behaviour. This change is unusual and uncharacteristic of Ji-young. What ticked it off? While the reasons were clear to me from the very beginning, people around Ji-young are baffled. Without warning, Ji-young loses her sense of self and talks and behaves as if possessed by the spirit of other women in her life, alive or dead. A scary thing for her husband to witness. A circumstance they fail to unravelling the patriarchy in a common woman’s life against the backdrop of a developed South Korea, Kim Ji-young Born 1982’ is a story millions of women can relate to. A combination of facts and fiction, it works to show the pressing reality of women in Korea and, at large, the world. While the author Cho Nam-joo faced huge backlash for the novella, the footnotes backing up the statistics she has used stand by her against every negative commentary regarding the story’s the reason behind the sudden change in Ji-young’s behaviour can easily be traced back to institutionalised patriarchy. The story works to cover plenty of complex yet fundamental themes and seems like a true story brought to life. After the initial observations of her husband, the narrative proceeds in the third person and talks of Ji-young’s life at different stages, at points also talking of the difficult life her mother had to lead. From Ji-young’s childhood, we can see that there was a clear distinction between the girl children and the boy in the difference in treatment was extremely normalised to the extent that it continued to be the natural cycle of everything. Both the sisters share a room because the brother needs his own space. The grandmother coddled the brother and scolded the sisters. The brother always got more, while the sisters shared everything they ever got. It was obvious the boy was loved more. It was clear he was the family’s pride even before he came into the Ji-young’s mother gave birth to the two sisters, everyone hoped the third one would be a boy. But when the mother was pregnant with her third baby, multiple factors led her to believe the third child would yet again be a girl. Out of desperation and unsolicited pressure, she aborted her third baby. Because who can explain to these people that a family with only daughters is also complete and as enriched as one with a son? Following these unfortunate circumstances, Ji-young’s mother gave birth to the family’s most adored baby boy. Every action in such a constricted family dynamic results in a natural flow of oppression. Ji-young and her sister, Kim Eun-young, constantly make sacrifices from their childhood whilst never questioning or realising why. The same goes for their mother, who had to give up her schooling and work to ensure that her brothers could go to school and be the shining stars they needed to be. Today, while her daughters have more choices, the chains of patriarchy, directly and indirectly, bind them difference in treatment was extremely normalised to the extent that it continued to be the natural cycle of everything. Both the sisters share a room because the brother needs his own space. The grandmother coddled the brother and scolded the sisters. The brother always got more, while the sisters shared everything they ever got. It was obvious the boy was loved more. It was clear he was the family’s pride even before he came into the Ji-young goes through an episode of harassment while coming home after dark from an academy far from her house, her father makes it about her rather than empathising with her daughter. Eventually, it becomes her fault because she came back late, because she goes to an academy far from home and because maybe her skirt was too short. But the perpetrator?According to decades worth of information, statements by public figures, and the family environment of millions of women, the victim is always at fault. Until recently, no one tried to question the lack of critical thinking and logic behind these accusations. Why can’t the world be made safer for women? Why isn’t the perpetrator not at fault? Why should Ji-young backtrack on her education for this? Multiple questions were left it doesn’t end here. As Ji-young reaches adulthood and starts working, we see her push as hard as she can, yet no amount of hard work can help her push past the sexist boundaries drawn by her superiors to keep their higher teams devoid of female workers who they believe will ultimately leave one day after marriage or after giving birth. A reality Ji-young experiences as Ji-young gets pregnant with her daughter, there is a clash between her and her husband. They try their best to work it out so that Ji-young can go back to work after her maternity leaves end, but circumstances ensure that she is the one to give up her career. The explanation is simple, given the gender pay gap, Ji-young can’t make as much money as her husband, and the amount she currently earns can not support the three of them. All things considered, Ji-young gives up the job she loves with a broken heart. Throughout every one, her husband presents himself as someone who understands, someone who wants to help but unsurprisingly fails to do so. After a point, Ji-young’s suffering is something she finds herself unable to share. When her friend from work visits her, the current climate of the workplace is something hard to read without feeling uncomfortable. This part talks of the spycam situation in most of Asia and its impact on the in our world, society somehow finds a way to blame this on women as well. In the story, the workers’ only female superior fights alongside all the women of the office. The heads want to make the happenings non-existent and quiet down the this, the female boss and multiple women workers leave the company. While Ji-young is partly relieved that she wasn’t a part of the company during this, her heart aches for the trouble women have to go through to be independent and make a name for now, her daughter is growing well and healthy, but in her heart Ji-young is lonely. She feels a lack of purpose in her life. The insults of people take a toll on her, but there is a lack of understanding from those around her because, traditionally, you are not supposed to talk about these things. You suffer quietly because that’s how it everyone seems to collectively not understand that Ji-young’s condition’ is a by-product of patriarchy’s centuries worth of oppression. Any community that has been historically oppressed and has been made to feel weak and without a voice struggles to find a way out of the systemic oppression in their life. Ji-young is lonely and struggling. No one is willing to understand what she wants, yet they claim to know what’s best for she visits a psychiatrist, a man, he narrates his own wife’s story, who gave up her career after birth. A maths genius who now finds joy in solving her young son’s maths workbooks because that is the only thing she can control. The psychiatrist feels unhappy with his wife’s state and says he understands what Ji-young is going empathetic modern man? Yet in the next breath, he says how female workers leaving because of pregnancy and motherhood need to be replaced by someone more permanent, aka, a man. The psychiatrist truly comes full he wants to do something for his wife, he can not do it. Moreover, he practices the same patterns that became the barrier in his wife’s life in the first place. The story ends in a full circle presenting an end with the implication that Ji-young’s life will not get read Inside The Exploding Anti-Feminist Movement Of South KoreaThe movie adaptation of the book of the same title and the actors in the movie faced a huge backlash as well. Though slightly different from the novella, the movie does pierce every watcher’s heart. The movie provides hope that the novella doesn’t through its ending, yet both versions depict the feelings and unfortunate events women go through in South Korea and in the world. A great read, the novella’s strong stand against the institutionalised patriarchy in South Korea is read K-Pop Suicides Sparks South Korean Women’s Protest Against FemicideFeatured image source Youtube

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KimJiyoung, Born 1982 by Cho Nam-Joo My rating: 4 of 5 stars We are introduced to Kim Jiyoung as a young mother who spontaneously channels other women's thoughts. This would be an interesting premise, and one I wish was developed a bit more but most of the book is a life sketch of Jiyoung, with particular emphasis put on all the ways a typical South Korean girl has to struggle for equality Description One of the most notable novels of the year, hailed by both critics and K-pop stars alike, Kim Jiyoung, Born 1982 follows one woman's psychic deterioration in the face of rampant misogyny. In a tidy apartment on the outskirts of Seoul, millennial "everywoman" Kim Jiyoung spends her days caring for her infant daughter.

KimJiyoung, Born 1982. Across South Korea, a slim novel called Kim Jiyoung, Born 1982, by Cho Nam-Joo, became a cultural sensation when it came out, selling more than a million copies. Nearly

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kim ji young born 1982 review