Projecting Asian Cinema to the World

Sangjoon Lee
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Abstract

This chapter examines Unheeded Cries, South Korea's official submission to the fourth San Francisco International Film Festival (SFIFF) in 1960, which tells the story of postwar orphans in the slums of Seoul. It discusses the Berlinale, San Francisco, and Asian Film festivals that consistently invited South Korean films to their competition sections during the first half of the 1960s. It also mentions the occupied force's cultural representative, Oscar Martay, who promoted Berlin as the Western cultural showcase of the East. The chapter reviews how SFIFF was organized and managed by Irving “Bud” Levin, whose ultimate aim was to raise his profile to become an international-level figure. It elaborates the Asia Foundation's (TAF) attempt to use SFIFF to showcase non-communist and ideologically correct Asian films for mainstream American society.
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向世界展示亚洲电影
这一章考察了1960年韩国向第四届旧金山国际电影节(siff)提交的官方作品《无人理睬的哭泣》,该片讲述了战后首尔贫民窟孤儿的故事。它讨论了柏林电影节、旧金山电影节和亚洲电影节,这些电影节在20世纪60年代上半叶一直邀请韩国电影参加它们的竞赛单元。它还提到了占领军的文化代表奥斯卡·马尔塔伊(Oscar Martay),他推动柏林成为东方的西方文化橱窗。本章回顾了欧文·“巴德”·莱文是如何组织和管理siff的,他的最终目标是提升自己的形象,成为一个国际水平的人物。它阐述了亚洲基金会(TAF)试图利用siff向美国主流社会展示非共产主义和意识形态正确的亚洲电影。
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Epilogue Hong Kong, Hollywood, and the End of the Network Constructing the Anticommunist Producers’ Alliance The Rise and Demise of a Developmental State Studio Projecting Asian Cinema to the World
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