To be honest I don’t have much to say for this week’s movie
– which is a perfect description for Dachimawa
Lee: speechless. I mean he’s not speechless, I am speechless.
One thing that actually strikes me is the pop culture reflection–
red Korean characters occupying the screen (comics) and his awkward James Bond moves
– Dachimawa even has his own Bond gals dying for the charm. But the thing is
Korean movies are really good at their media incarnation: they produce either
the perfect men with killer smiles (the Good), evil six packs (the bad), 150 IQ
(… the weird?), or those like Dachimawa and Yoon Tae-goo, comical, most of the
time ridiculous, all the time idiosyncratic – the extremes of sexual appeals in
Korean – or East Asian – aesthetic of men. What bothers me is the portrait of
the young Korean women, especially those in soup operas: silly (compared to the
composed and indifferent male counterpart) and skinny. Apparently I’m
generalizing this but the message from the media is obvious: if you’re a man,
and not good-looking/muscular/cool you could always be funny. But woman.. keep
thin and innocent, you’ll be taken care of by a perfect man later.
I don’t think this film is all designed for my feminist rant
and the only thing I can draw from the reading is the call for humanism: we
need diversity, respect and empathy when depicting historical events. Media and
history both have a social and moral responsibility to present the truth as closely
as possible. So to make this post more engaging, here is the epic picture of
Dachimawa Lee, very humanitarian. 
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