Years active 2003–present Revised Romanization Bu Jiyeong | Hangul 부지영 McCune–Reischauer Pu Chiyŏng | |
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Born September 16, 1971 South Korea Occupation Director and scriptwriter Movies Cart, Sisters on the Road, If You Were Me 5, A Time to Love, Moonwalk Similar Moon Jeong‑hee, Yum Jung‑ah, Kim Young‑Ae, Ji Woo, Yoon Sung‑Hyun | ||
Cart south korea 2014 q a with director boo ji young tiff 2014 1 of 2
Boo Ji-Young (born September 16, 1971) is a South Korean director and scriptwriter. After graduating from the Korean Academy of Film Arts, she began her career in independent filmmaking in South Korea. She created her first film Sisters on the Road in 2008. She is best known for her film Cart (2014), which was screened at many international film festivals.
Contents
- Cart south korea 2014 q a with director boo ji young tiff 2014 1 of 2
- Cart south korea 2014 q a with director boo ji young tiff 2014 2 of 2
- Early Life and Education
- Career
- Filmography
- Awards and Invitations
- References
Cart south korea 2014 q a with director boo ji young tiff 2014 2 of 2
Early Life and Education
Boo graduated from Korean Academy of Film Arts. After that, she was the script supervisor on Lee Jae-yong's Untold Scandal in 2003.
Career
Boo made her first feature film Sisters on the Road in 2008. The film examined the thought and state of womanhood in modern South Korean society. She was invited to the Busan International Film Festival, International Women's Film Festival, and the Tokyo International Women's Film Festival to screen the film. Later, she created an experimental omnibus documentary called Myselves: The Actress No Makeup Project (2012). She has also collaborated on several omnibus film projects such as the human rights project If You Were Me 5 (2010) and the Jeonju International Film Festival's 'Short! Short! Short! in 2011.
Boo is best known for her film Cart from 2014, based on a real events in South Korea. It was screened at the Toronto International Film Festival. Boo was interested in the issues related to women and labourers in South Korea. She believes that the public should see women directors as equal to men directors, rather than categorizing women directors as "women's cinema" when they make films.