Pub Date : 2017-07-03DOI: 10.1080/17564905.2017.1368138
Aaron Han Joon Magnan-Park
ABSTRACT Yu Hyun-Mok’s Obaltan (1961) is a paragon of what I will term Daehan Neo-realism, which is a South Korean version of Italian Neo-realism. Daehan Neo-realism introduces a homophonic and homonymic linguistic play involving three distinct types of Korean daehan: (1) 大韓 (the great ethnic Han Koreans), (2) 大漢 (the great ethnic Han Chinese), and (3) 大恨 (the great eternal woe). The goal is to reimagine 大韓 without 大漢 or 大恨. The resulting Confucian conundrum arises when the capitalist rule of profit supplants the Confucian rule of virtue. The film’s critique is directed against the evaporating virtuousness of President Rhee Syngman as he abandons democracy in favour of greater authoritarian rule. This creates a scenario where the resulting aimless Confucianism transforms each South Korean into an obaltan (aimless bullet).
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Pub Date : 2017-07-03DOI: 10.1080/17564905.2017.1368134
C. Berry, Jinhee Choi
This special issue of The Journal of Japanese and Korean Cinema both celebrates and continues the legacy of the Korean Screen Culture Conference. The Korean Screen Culture Conference held at King’s College London between June 2 and 4 in 2016 (Figure 1), was only the fifth-year event since the one-day workshop, ‘Korean Film: Years of Radical Change’, hosted at the School of Oriental and African Studies in 2012. As Andrew Jackson sketches in his introduction to the special issue (Volume 8, no. 1) of this journal, despite the short history of the conference it has indeed attracted a wide range of interest from media and Korean studies scholars and students not only in the UK and Europe but across the Atlantic and the Mediterranean. As will be discussed below, the topics and various threads that ran throughout the conference showcase the expansion of not only the object and scope of study, but also the methods employed. In 2016s conference, the number of panels reached twelve with over forty presenters, a great increase from the previous year of seven panels with twenty six presentations. We appreciate the continuing support from the Korea Foundation, without which the conference would not have been feasible. Those funds helped us to support speakers who otherwise would not have been able to attend, and this was especially important for the substantial number of research students who participated. Speakers came from as far afield as New Zealand and Ghana. The School of Arts and Humanities and the Department of Film Studies at King’s College London further granted generous support. The Korean Cultural Centre in London kindly collaborated with the conference organizers for this event, holding a very convivial reception that was a memorable social highlight to match the academic ones. The papers given at the 2016 Korean Screen Cultures Conference featured continuing strength in core areas of Screen Studies, such as analysis of classic films and auteurfocused projects. But they also demonstrated the diversification of objects of study and approaches that has been a characteristic of the KSCC all along. These two tendencies are reflected in the selection of articles for this special issue. The focus on classics and auteurs is evident in the inclusion of the essays by Hee-seung Irene Lee (University of Auckland), Andrew D. Jackson (Monash University), and Aaron Han Joon Magnan-Park (University of Hong Kong), which focus on Hong Sang-soo’s Right Now, Wrong Then, Lee Gwang-mo’s (Lee Kwangmo) Spring in My Hometown and Yu Hyun-Mok’s Obaltan respectively. The diversification of objects and approaches appears in the essays by Julia Keblinska (University of California, Berkeley) on the television drama Reply 1994 and by Antonetta
《日韩电影杂志》的这期特刊既庆祝又延续了韩国银幕文化会议的传统。2016年6月2日至4日在伦敦国王学院举行的韩国电影文化大会（图1）是自2012年在东方与非洲研究学院举办的为期一天的研讨会“韩国电影：激进变革的岁月”以来的第五年活动。正如安德鲁·杰克逊在本杂志特刊（第8卷，第1期）的引言中所述，尽管会议历史很短，但它确实吸引了媒体和韩国研究学者和学生的广泛兴趣，不仅在英国和欧洲，而且在大西洋和地中海。正如下面将要讨论的那样，贯穿整个会议的主题和各种线索不仅展示了研究对象和范围的扩展，还展示了所采用的方法。在2016年的会议上，小组讨论会的数量达到了12个，有40多名演讲者，比前一年的7个小组讨论会和26个演讲者大幅增加。我们感谢韩国基金会的持续支持，如果没有这些支持，会议就不可能举行。这些资金帮助我们支持了那些本来无法出席的演讲者，这对参加的大量研究生来说尤其重要。演讲者来自遥远的新西兰和加纳。伦敦国王学院艺术与人文学院和电影研究系进一步给予了慷慨的支持。位于伦敦的韩国文化中心与此次活动的会议组织者进行了友好合作，举办了一场非常欢乐的招待会，这是一场令人难忘的社会亮点，与学术界的招待会相匹配。在2016年韩国电影文化大会上发表的论文展示了电影研究核心领域的持续优势，如经典电影分析和以导演为中心的项目。但他们也证明了研究对象和方法的多样性，这一直是KSCC的特点。这两种趋势反映在本期特刊的文章选择中。对经典和导演的关注体现在收录了奥克兰大学的Hee-seung-Irene Lee、莫纳什大学的Andrew D.Jackson和香港大学的Aaron Han Joon Magnan-Park的文章中，这些文章分别聚焦于洪的《现在是对的，然后是错的》、李光模的《我家乡的春天》和于贤莫的《Obaltan》。对象和方法的多样化出现在Julia Keblinska（加州大学伯克利分校）关于电视剧《回复1994》的文章和Antonetta的文章中
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Pub Date : 2017-07-03DOI: 10.1080/17564905.2017.1368191
Julia Keblinska
ABSTRACT ‘Mediated Nostalgia: Touching the Past in Reply 1994’ argues that the aesthetic and thematic treatment of television technology in the nostalgic 2013 South Korean television drama Reply 1994 puts viewers productively in ‘touch’ with the past. The high definition aesthetics of the 2013 series and the low definition image of 1990s television and other domestic media featured in Reply 1994 produce viewing modes that oscillate between closeness and distance. While watching, the viewer enters a sensory dialogue with the medium of television in its dual guise as a cathode ray tube monitor and flat screen. The sensory interaction with memories of the recent past that materialize in her present disturbs the linearity of cosmological time with the time of mediated phenomenological experience. This nostalgic dialogue is not a trivial consumption of meaningless images but a powerful interaction with the past which produces a new version of history about politics and about media. By putting analogue and digital television images in dialogue, Reply 1994 gestures toward a new narrative of the media archaeology of convergence culture and a new mode of understanding contemporary South Korean history.
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Pub Date : 2017-07-03DOI: 10.1080/17564905.2017.1368146
Hee-seung Irene Lee
ABSTRACT Hong Sang-soo’s recent film, Right Now, Wrong Then (2015), features a film director who idly spends a day in a strange city and meets a female artist whom he instantly falls for. Hong constructs an interesting template for this banal encounter: the film’s narrative is evenly divided into two parts, only to repeat the same story twice without any causal connection. The juxtaposition of two versions of the same story, however, weaves a web of minute, insignificant differences the couple improvises in each version. The film’s parallel structure allows viewers to closely observe the protagonists through fissures created between fantasy, desire and act. Drawing upon Jacques Lacan’s theorization of man as a divided subject and his or her ethical dimension that emerges at the moment of one’s unflinching manifestation of desire through an act, the article will attempt to engage with Hong’s film as an attempt to seek a new ground for human desire. The following discussion will address how the film instantiates Lacan’s definition of the ethical ground for a divided yet desiring subject, which he articulates in a rather confronting question: ‘Have you acted in conformity with the desire that is in you?’ [1992, 314. The Ethics of Psychoanalysis 1959–1960: The Seminar of Jacques Lacan Book VII. Translated by Dennis Porter. New York: W. W. Norton & Company].
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Pub Date : 2017-07-03DOI: 10.1080/17564905.2017.1368150
A. L. Bruno, Somin Chung
ABSTRACT This article analyses the production and consumption of live-streaming personal broadcasts, focusing on their commercial and economic aspects, as well as their interactivity with their users. Mŏkpang is a term that refers to ‘eating broadcasts’, in which content creators, called Broadcasting Jockeys (BJs), televise themselves while eating. Based on a case study involving in-depth interviews with three BJs and a shop owner, this paper examines how the BJs achieve their success (attracting a huge audience and earning a high income), and how their performances interact with the audience and the pay items purchased on the digital platform. We argue that the pay items, especially the ‘star-balloon’, have unique cultural meanings beyond capitalism. We then consider the cultural context of the viewers’ behaviour during the performance. This essay shows that live-streaming personal broadcasts are critical vehicles for analysing these practices – their production and consumption – in a digital space constructed via and beyond digital technology. In particular, mŏkpang attests to the way multi-layered interactions mediated by commercial devices are taking place with the cooperation of dining businesses, viewers, and BJs. The article also aims to inquire into the meanings of mŏkpang’s commercial and economic aspects, exploring how and why they build and strengthen their relationship with the imagined community. Finally, it speculates that mŏkpang is part of a network of communities that actually accommodate recent social and cultural needs in Korea.
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Pub Date : 2017-01-02DOI: 10.1080/17564905.2017.1289635
Jieun Lee
elsewhere. It also seems Roquet’s argument is more of an addendum to existing works on biopower and affect rather than significantly furthering these discussions. Even so, he does draw the reader’s attention to a class of media often ignored by media critics and a cultural context that remains peripheral to English-speaking scholars. For scholars particularly interested in Japanese or East Asian media theory and history, Ambient Media is useful in its historicization of ambient media in Japan from roughly the 1970s onwards. This book may also be relevant to North American scholars by touching on U.S. specific trends that intersect with similar aesthetic and critical movements in Japan, without conflating the two contexts. Moreover, concepts the author introduces, such as ‘ambient media’, ‘ambient subjectivation’, and ‘subtractivism’, can find application in other areas, particularly for scholars interested in new and emerging media. Others may find use value in Roquet’s incorporation of music and sound theory in the book, which is in keeping with an intensified focus on the audible dimension of audiovisual media in recent years. Overall, Roquet provides a quick and informative read that has surprisingly broad application despite its narrow focus, and may appeal to readers from multiple disciplinary angles.
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Pub Date : 2017-01-02DOI: 10.1080/17564905.2017.1309621
Namhee Han
ABSTRACT Films about camptown women have been marginalized in the studies of Korean cinema, despite their significance as immediate responses to the Korean War and critiques on the collaboration between the local governments and America’s global military power. From the mid-1950s to the early 1990s, a number of narrative films were set in base towns, a few of which featured camptown women as protagonists. After the 2000s, there was a marked shift towards independent documentary films. Among recent examples in this field, American Alley (Amerikan aelli, Kim Dong-ryeong, 2008) stands out to us because it explores temporal aesthetics in terms of documentary ethics. In this essay, I first discuss how American Alley as a human rights film challenges media sensationalism and voyeurism, examining the previous representations of camptown women. Second, I investigate the contentious dynamics between aesthetics and ethics in documentary filmmaking and suggest engaging in Emmanuel Levinas’ ideas of ethics, time, and image. Finally, by analyzing three temporalities that articulate camptown women’ experiences, I argue for the possibility of temporal aesthetics in addressing camptown violence and abuse and in ensuring an ethical relationship between the filmmaker, the subject, and the viewer.
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Pub Date : 2017-01-02DOI: 10.1080/17564905.2017.1292098
Kelly Hansen
ABSTRACT Japan today is known for one of the lowest levels of gender equality in the developed world. Orientalist perceptions of feminine beauty, both domestically and internationally, frequently contribute to this gender gap by privileging nostalgic images of women who conform to premodern values. This study examines Mizoguchi Kenji’s well-known 1936 film Sisters of the Gion (Gion no shimai), a work that has gained a new audience in the twenty-first century through release on DVD. I propose that re-examining this film as a loose adaptation of Aleksandr Kuprin’s portrayal of prostitution in his early twentieth- century Russian novel Yama: The Pit (1909–1915) can expose these contesting images of nostalgia and gender inequality. Centered on the geisha world of the 1930s, Sisters of the Gion depicts the struggles faced by women whose existence depends on the whims of men. When considered alongside Yama, the film becomes not simply a depiction of an outdated geisha system, but a broader statement of the inability of women to attain any degree of autonomy in a world where premodern patriarchal values continue to govern social norms.
摘要：当今的日本是发达国家中男女平等程度最低的国家之一。东方主义者对女性美的看法，无论是在国内还是在国际上，都经常通过赋予符合前现代价值观的女性怀旧形象以特权来加剧这种性别差距。这项研究考察了沟口健二1936年著名的电影《Gion的姐妹》（Gion no shimai），这部作品在21世纪通过DVD发行获得了新的观众。我建议重新审视这部电影，将其改编为亚历山大·库普林（Aleksandr Kuprin）在20世纪初的俄罗斯小说《亚马：深渊》（1909-1915）中对卖淫的描述，可以揭露这些怀旧和性别不平等的争议图像。《Gion姐妹》以20世纪30年代的艺妓世界为中心，描绘了女性所面临的斗争，她们的生存取决于男性的奇思妙想。当与Yama一起考虑时，这部电影不仅仅是对过时的艺妓制度的描述，而是对女性在一个前现代父权价值观继续支配社会规范的世界中无法获得任何程度的自主权的更广泛的陈述。
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Pub Date : 2017-01-02DOI: 10.1080/17564905.2017.1289296
Shota Ogawa
ABSTRACT Nothing is more emblematic of the increasingly transnational and decentralized conditions for filmmaking in Japan today than Yang Yong-hi’s meteoric rise from a freelance video journalist to a leading minority director in Japan. In just over seven years, Yang has collected awards in film festivals including Berlin, Sundance, and Yamagata with two documentary features and one narrative fiction that she completed with Japanese and South Korean funding. But the cosmopolitan reception of Yang’s works belies the fact that all her works to date have singularly focused on the obstinacy of the national border that has divided her family: her brothers in Pyongyang and her parents in Osaka. This study offers an analysis of Yang’s ‘Pyongyang Trilogy’ comprising Dear Pyongyang (2005), Sona, the Other Myself (2009) and Our Homeland (2012), with a particular emphasis on her creative uses of familial framing, that is to say, snapshots, home videos, and family melodrama. I examine the ways in which ‘family’ functions as a critical third space outside the national paradigm of the diaspora discourse, on the one hand, and the post-sovereign paradigm of independent cinema, on the other hand.
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Pub Date : 2017-01-02DOI: 10.1080/17564905.2017.1296803
U-sang Kim
ABSTRACT This article examines the spatial politics and aesthetics of queer Korean cinema through a close reading of Stateless Things (Jultak dongsi, Kim Kyung-mook, 2011). The focus of this article is twofold. Firstly, it explores the way in which the film experiments with both narrative and formalistic elements in critiquing South Korean national logic of progress and their ethnocentrism. Secondly, it delineates the queer use of space in the film. Through a careful examination of the film, this article argues that the virtue of queer Korean cinema lies in its ardent effort to reinstate the history of socially marginalized people on screen and to disclose the aspects of queer lives that cannot be subsumed under the heteronormative logic of progress.
本文通过细读《无国籍的事物》(Jultak dongsi, Kim Kyung-mook, 2011)来探讨韩国酷儿电影的空间政治和美学。本文的重点有两个方面。首先，探讨了影片在批判韩国民族进步逻辑及其民族中心主义时，是如何运用叙事和形式主义元素进行实验的。其次，它描绘了电影中奇怪的空间运用。通过对这部电影的仔细审视，本文认为韩国酷儿电影的优点在于它热切地努力在银幕上恢复社会边缘化人群的历史，并揭示了酷儿生活中不能被纳入异性恋规范逻辑的方面。
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