Pub Date : 2024-04-15DOI: 10.1080/17564905.2024.2338959
Namhee Han
{"title":"Rescuing film culture from the nation: Japanese cinema in South Korean cultural journalism of the 1980s and 1990s","authors":"Namhee Han","doi":"10.1080/17564905.2024.2338959","DOIUrl":"https://doi.org/10.1080/17564905.2024.2338959","url":null,"abstract":"","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"87 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140702777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-10DOI: 10.1080/17564905.2024.2338589
Se Young Kim
{"title":"‘Say my name’:\u0000 Slam Dunk\u0000 , the importation of manga in South Korea, and post-crisis nostalgia in East Asia","authors":"Se Young Kim","doi":"10.1080/17564905.2024.2338589","DOIUrl":"https://doi.org/10.1080/17564905.2024.2338589","url":null,"abstract":"","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"78 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140720142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-10DOI: 10.1080/17564905.2024.2338590
Eun Young Seong
{"title":"Still chasing reconciliation: the 2002 Japan–Korea co-productions of the television drama\u0000 Friends\u0000 and the opera\u0000 Chun Hiang","authors":"Eun Young Seong","doi":"10.1080/17564905.2024.2338590","DOIUrl":"https://doi.org/10.1080/17564905.2024.2338590","url":null,"abstract":"","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"1987 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140719222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-07DOI: 10.1080/17564905.2023.2254662
Kyu Hyun Kim
ABSTRACT This essay examines the two best known animated features directed by Yeon Sang-ho (1978-), The King of Pigs (2011) and The Fake (2013). Rather than characterizing these controversial and critically lauded animated features primarily as critical texts aimed at South Korean educational and religious institutions and practices, this essay brings his films in dialogue with the theories of animation developed by Imamura Tahei (1911–1986) as mediated through the historical analyses of Otsuka Eiji. By doing so, it attempts to illustrate the way Yeon's animated films draw upon the allegedly ‘limited’ palette and stylistics of animation to arrive at articulations of ‘realism of the body’ that resist ideological and social realist interpretations.
{"title":"Real pigs and fake humans: rethinking realism in Yeon Sang-ho’s ‘The King of Pigs’ and ‘The Fake’","authors":"Kyu Hyun Kim","doi":"10.1080/17564905.2023.2254662","DOIUrl":"https://doi.org/10.1080/17564905.2023.2254662","url":null,"abstract":"ABSTRACT\u0000 This essay examines the two best known animated features directed by Yeon Sang-ho (1978-), The King of Pigs (2011) and The Fake (2013). Rather than characterizing these controversial and critically lauded animated features primarily as critical texts aimed at South Korean educational and religious institutions and practices, this essay brings his films in dialogue with the theories of animation developed by Imamura Tahei (1911–1986) as mediated through the historical analyses of Otsuka Eiji. By doing so, it attempts to illustrate the way Yeon's animated films draw upon the allegedly ‘limited’ palette and stylistics of animation to arrive at articulations of ‘realism of the body’ that resist ideological and social realist interpretations.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48520181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-05DOI: 10.1080/17564905.2023.2254668
Mihaela Mihailova
ABSTRACT Anime director Mamoru Hosoda’s focus on digital technology, social networks, and the power of online communities is a recurring thematic and visual motif in many of his works, beginning with the forty-minute film Digimon Adventure: Our War Game! (2000), continuing with Summer Wars (2009), and recently resurfacing in Belle (2021). This article traces the aesthetic evolution of Hosoda’s virtual spaces over the past two decades, unpacking the technological, ideological, and stylistic underpinnings and implications of the shift from Digimon’s relative lack of visual sophistication to the sleek speculative architecture of Belle. It puts these digital worlds in conversation with the contemporary digital culture discourses they reflect, examining Hosoda’s sustained engagement with broader societal attitudes towards digital technologies, particularly the internet and social media. At the same time, my analysis focuses on the director’s increasing reliance on digital animation, investigating the relationship between his films’ computer-generated worlds and the animation processes enabling their creation.
{"title":"A journey through the ‘Hosoda sphere’: digital worlds in Mamoru Hosoda’s animation","authors":"Mihaela Mihailova","doi":"10.1080/17564905.2023.2254668","DOIUrl":"https://doi.org/10.1080/17564905.2023.2254668","url":null,"abstract":"ABSTRACT Anime director Mamoru Hosoda’s focus on digital technology, social networks, and the power of online communities is a recurring thematic and visual motif in many of his works, beginning with the forty-minute film Digimon Adventure: Our War Game! (2000), continuing with Summer Wars (2009), and recently resurfacing in Belle (2021). This article traces the aesthetic evolution of Hosoda’s virtual spaces over the past two decades, unpacking the technological, ideological, and stylistic underpinnings and implications of the shift from Digimon’s relative lack of visual sophistication to the sleek speculative architecture of Belle. It puts these digital worlds in conversation with the contemporary digital culture discourses they reflect, examining Hosoda’s sustained engagement with broader societal attitudes towards digital technologies, particularly the internet and social media. At the same time, my analysis focuses on the director’s increasing reliance on digital animation, investigating the relationship between his films’ computer-generated worlds and the animation processes enabling their creation.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45285487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-03DOI: 10.1080/17564905.2023.2253419
Minerva Terrades
ABSTRACT During the bubble era (1986–1991) Japanese television dramas attained their golden age, brought about by the innovative narrative formula of ‘trendy dramas’ – love stories that displayed a trend towards urban, consumer-oriented, glamorous lifestyles [Lukács, Gabriella. 2010. Scripted Affects, Branded Selves: Television, Subjectivity, and Capitalism in 1990s Japan. Durham: Duke University Press]. Drawing from media anthropology, cultural studies, and gender studies, this paper explores the ways in which trendy drama discourses redefined the politics of Japanese women’s identity and to what extent they reproduced patriarchal views towards women’s selfhood. Through an ethnographic study of one of the most popular trendy dramas, Tokyo Love Story (TLS) [1991. Produced by Ōta Tōru, featuring Suzuki Honami, Oda Yūji, Arimori Narimi, and Eguchi Yōsuke, aired January 7, 1991, on Fuji TV], involving qualitative questionnaires, and analysis of newspaper articles, I will argue that TLS not only contributed to the redefinition of the modern and urban woman, but was also a pioneer in reinventing Japanese womanhood for the future generations.
{"title":"Japanese trendy dramas: new imaginaries of Japanese women in Tokyo Love Story","authors":"Minerva Terrades","doi":"10.1080/17564905.2023.2253419","DOIUrl":"https://doi.org/10.1080/17564905.2023.2253419","url":null,"abstract":"ABSTRACT During the bubble era (1986–1991) Japanese television dramas attained their golden age, brought about by the innovative narrative formula of ‘trendy dramas’ – love stories that displayed a trend towards urban, consumer-oriented, glamorous lifestyles [Lukács, Gabriella. 2010. Scripted Affects, Branded Selves: Television, Subjectivity, and Capitalism in 1990s Japan. Durham: Duke University Press]. Drawing from media anthropology, cultural studies, and gender studies, this paper explores the ways in which trendy drama discourses redefined the politics of Japanese women’s identity and to what extent they reproduced patriarchal views towards women’s selfhood. Through an ethnographic study of one of the most popular trendy dramas, Tokyo Love Story (TLS) [1991. Produced by Ōta Tōru, featuring Suzuki Honami, Oda Yūji, Arimori Narimi, and Eguchi Yōsuke, aired January 7, 1991, on Fuji TV], involving qualitative questionnaires, and analysis of newspaper articles, I will argue that TLS not only contributed to the redefinition of the modern and urban woman, but was also a pioneer in reinventing Japanese womanhood for the future generations.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41508158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-03DOI: 10.1080/17564905.2023.2253420
Sean O’Reilly
ABSTRACT For the last seventeen years in a row, domestic Japanese cinema has trounced imported Hollywood fare at the box office. Anime-related films are one source of Japanese cinema’s strength, but there is another key factor: revisionist, right-wing historical films. A new extremist ‘mainstream’ has emerged, one in which Japan’s present and future seem increasingly unsatisfying, her past ever more appealing. This article examines several recent Japanese blockbusters and their production contexts. In both the ‘rosy past’ type and the ‘bleak future’ type of rightist film which these industrial conditions have produced, the message is essentially the same: things were better before, and only by spiritually returning to the past can Japan be made great again. If audiences continue to endorse this extremist right-wing vision of the once and future Japan, another generation of young, impressionable viewers might conclude that Japan’s only way forward is to retreat deeper into the beautified past.
{"title":"The resurgent right: the secret of Japan’s twenty-first century cinematic success","authors":"Sean O’Reilly","doi":"10.1080/17564905.2023.2253420","DOIUrl":"https://doi.org/10.1080/17564905.2023.2253420","url":null,"abstract":"ABSTRACT For the last seventeen years in a row, domestic Japanese cinema has trounced imported Hollywood fare at the box office. Anime-related films are one source of Japanese cinema’s strength, but there is another key factor: revisionist, right-wing historical films. A new extremist ‘mainstream’ has emerged, one in which Japan’s present and future seem increasingly unsatisfying, her past ever more appealing. This article examines several recent Japanese blockbusters and their production contexts. In both the ‘rosy past’ type and the ‘bleak future’ type of rightist film which these industrial conditions have produced, the message is essentially the same: things were better before, and only by spiritually returning to the past can Japan be made great again. If audiences continue to endorse this extremist right-wing vision of the once and future Japan, another generation of young, impressionable viewers might conclude that Japan’s only way forward is to retreat deeper into the beautified past.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48837017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/17564905.2023.2268993
Wai-fung So
ABSTRACT Through an analysis of All About Lily Chou-Chou (2001), this paper adopts the contemporary paradigm of cinematic affect in the study of contemporary Japanese cinema. Contextualizing the film within the rise of the Japanese New Independent in the 1990s, it argues that contemporary Japanese cinema exists as an assemblage of auteurist works that revisit Japanese culture and identities with cinematic iconography. This paper combines a historical profile of film director Iwai Shunji and a critical review of the Deleuzian-influenced paradigm of cinematic affect from which it theorizes an ‘affective icon’ for the appreciation of Iwai’s film, embodied with the traumatic expression of the youth icon.
{"title":"Trauma and sensation: a study of the youth icon in All About Lily Chou-Chou (2001)","authors":"Wai-fung So","doi":"10.1080/17564905.2023.2268993","DOIUrl":"https://doi.org/10.1080/17564905.2023.2268993","url":null,"abstract":"ABSTRACT Through an analysis of All About Lily Chou-Chou (2001), this paper adopts the contemporary paradigm of cinematic affect in the study of contemporary Japanese cinema. Contextualizing the film within the rise of the Japanese New Independent in the 1990s, it argues that contemporary Japanese cinema exists as an assemblage of auteurist works that revisit Japanese culture and identities with cinematic iconography. This paper combines a historical profile of film director Iwai Shunji and a critical review of the Deleuzian-influenced paradigm of cinematic affect from which it theorizes an ‘affective icon’ for the appreciation of Iwai’s film, embodied with the traumatic expression of the youth icon.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"2016 1","pages":"157 - 170"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139364305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/17564905.2023.2268995
Woojeong Joo
{"title":"Ozu, Tokyo Story, Chasing Ozu","authors":"Woojeong Joo","doi":"10.1080/17564905.2023.2268995","DOIUrl":"https://doi.org/10.1080/17564905.2023.2268995","url":null,"abstract":"","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"106 1","pages":"171 - 175"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139363980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17564905.2023.2204797
Colleen A. Laird
ABSTRACT Within many of the works of contemporary Japanese women commercial filmmakers, we see a new vision of home, home spaces, and the act of home making. These depictions diverge from cinematic spaces of and metaphors about the home found in the works of previous directors. While ‘home’ on screen has been shaped throughout Japanese cinema history by dominant gendered narratives that imagine family and the physical house itself as an ideological extension of the state, contemporary Japanese women directors reimagine home as not a physical structure or ‘traditional’ family, but as a matter of repetitive habit expressed through visual and narrative motifs. This creates a sense of ‘at-homeness’ in their films that resonates with how a contemporaneous generation of young people in Japan have also found new definitions of and feelings about home. This article traces both the depiction of home in Japanese cinema and the dominant definitions of ‘home’ in Japanese public discourse from the early 1920s to the early 2000s, before offering a close analysis of two case studies – directors Tanada Yuki and Ogigami Naoko – to show how members of this new generation find an expression of home through the formal craft of cinema itself.
{"title":"Crossing thresholds: women directors making a home in Japanese cinema","authors":"Colleen A. Laird","doi":"10.1080/17564905.2023.2204797","DOIUrl":"https://doi.org/10.1080/17564905.2023.2204797","url":null,"abstract":"ABSTRACT Within many of the works of contemporary Japanese women commercial filmmakers, we see a new vision of home, home spaces, and the act of home making. These depictions diverge from cinematic spaces of and metaphors about the home found in the works of previous directors. While ‘home’ on screen has been shaped throughout Japanese cinema history by dominant gendered narratives that imagine family and the physical house itself as an ideological extension of the state, contemporary Japanese women directors reimagine home as not a physical structure or ‘traditional’ family, but as a matter of repetitive habit expressed through visual and narrative motifs. This creates a sense of ‘at-homeness’ in their films that resonates with how a contemporaneous generation of young people in Japan have also found new definitions of and feelings about home. This article traces both the depiction of home in Japanese cinema and the dominant definitions of ‘home’ in Japanese public discourse from the early 1920s to the early 2000s, before offering a close analysis of two case studies – directors Tanada Yuki and Ogigami Naoko – to show how members of this new generation find an expression of home through the formal craft of cinema itself.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"302 12","pages":"37 - 54"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41258451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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