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By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. To browse Academia. The traditional theme of the prostitute in popular texts has been ubiquitously employed in different times and cultures.
In the South Korean context, the cultural representation of prostitutes was most prominent in 'hostess a Korean euphemism for prostitute films' during the s.
This was an ironic turn of events, given that state censorship was at its peak during the military regime β During the s, South Korean cinema was often referred to as having hit a low point due to state regulation of films. However, hostess films became box office hits and contributed to the rejuvenation of the declining Korean movie industry.
Hostess films are characterized by the dichotomy of realism and the hyper-stylistic representation of their heroines. They dealt with realistic issues related to the migration of peasant women during the industrialization of South Korea and involve the contradictory presentations of highly unrealistic, idealized heroines.
While conventional Holly-wood films portray sexually fallen women as immoral and eroticized, hostess films instead, focus on their extremely selfless and inherently good natures. This article traces the cultural construction of the prostitute in popular texts and scrutinizes the major conventions of South Korean hostess films.