Pub Date : 2020-07-02DOI: 10.1080/17564905.2020.1816262
Irhe Sohn
Christina Klein’s new book, Cold War Cosmopolitanism: Period Style in 1950s Korean Cinema explores the ‘period style’ of the 1950s, looking specifically at South Korean filmmaker Han Hyung-mo’s oeu...
Christina Klein的新书《冷战世界主义：1950年代韩国电影的时代风格》探讨了1950年代的“时代风格”，特别关注了韩国电影制作人Han Hyung-mo的作品。。。
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Pub Date : 2020-07-02DOI: 10.1080/17564905.2020.1840031
Heeju Sohn
ABSTRACT This paper examines recent feminist movements, which I am grouping together under the term ‘feminism reboot’, in the context of South Korea’s neoliberalization, with a focus on misogyny levelled against women. It first traces the emergence of social media-based feminism in Korea, following the democratization and market liberalization since the late 1980s and subsequent Korean films that used to showcase more diverse types of female characters up until the mid-1990s. But as misogyny intensified after the 1997 economic crisis, film narrative increasingly revolves around male characters, while female characters often disappear. This trope could be seen to register the gendered nature of Korean society that resulted from the rapid acceptance of neoliberal values in the aftermath of the 1997–98 Asian financial crisis. This paper compares and contrasts the romantic comedies of the 1990s, such as Marriage Story (Gyeolhon yiyagi, Kim Eui-seok, 1992), Mister Mama (Misteo mamma, Kang Woo-suk, 1992) and the comedy of the 2010s, including Sunny (Sseoni, Kang Hyeog-cheol, 2011) in order to demonstrate how the economic crisis not only re- legitimized the gender hierarchy and has further affected the cinematic representation of gender, taking away female agency in the latter period.
{"title":"Feminism reboot: Korean cinema under neoliberalism in the 21st Century","authors":"Heeju Sohn","doi":"10.1080/17564905.2020.1840031","DOIUrl":"https://doi.org/10.1080/17564905.2020.1840031","url":null,"abstract":"ABSTRACT This paper examines recent feminist movements, which I am grouping together under the term ‘feminism reboot’, in the context of South Korea’s neoliberalization, with a focus on misogyny levelled against women. It first traces the emergence of social media-based feminism in Korea, following the democratization and market liberalization since the late 1980s and subsequent Korean films that used to showcase more diverse types of female characters up until the mid-1990s. But as misogyny intensified after the 1997 economic crisis, film narrative increasingly revolves around male characters, while female characters often disappear. This trope could be seen to register the gendered nature of Korean society that resulted from the rapid acceptance of neoliberal values in the aftermath of the 1997–98 Asian financial crisis. This paper compares and contrasts the romantic comedies of the 1990s, such as Marriage Story (Gyeolhon yiyagi, Kim Eui-seok, 1992), Mister Mama (Misteo mamma, Kang Woo-suk, 1992) and the comedy of the 2010s, including Sunny (Sseoni, Kang Hyeog-cheol, 2011) in order to demonstrate how the economic crisis not only re- legitimized the gender hierarchy and has further affected the cinematic representation of gender, taking away female agency in the latter period.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"12 1","pages":"98 - 109"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2020.1840031","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42181800","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 : 2020-01-02DOI: 10.1080/17564905.2020.1738050
M. Yamada
ABSTRACT Recent cinematic adaptations of the fiction of Japanese writer Murakami Haruki (b. 1949) visualize a central narrative theme in his work: the division in Japan's historical imagination between its tumultuous past and its contemporary post-industrial consumer culture. [i] Tony Takitani (Tonî Takitani, 2005) by Japanese director Ichikawa Jun (b. 1948) and Norwegian Wood (Noruwei no mori, 2012) by Tran Ahn Hung (b. 1962) depict how the memory of war, recovery, and activism come to bear on the experience of rapid development in Japan. However, based on the popularity of Murakami's fiction in the larger region of East Asia, the impact of modernization on national memory is a theme that does not just resonate with audiences in Japan. Korean director Lee Chang-dong's (b. 1954) adaptation of Murakami's 1992 short story 'Barn Burning', Burning (Beoning, 2018) depicts the fractures formed between South Korea's hypermodern present and the cultural experiences that were suppressed in the process of the nation's rapid development. Much like adaptations of Murakami's fiction set in Japan, Burning upsets the self-evidence of the highly developed condition of present-day South Korea by making the material experience of an affluent Seoul landscape somehow less real, while giving tangible form instead to the virtual effects of the nation's divisive history. The melding of the virtual dimensions of the past with the materiality of the present in Murakami adaptations set in both Japan and Korea suggests a similar experience with the illusory nature of rapid development in the historical imagination of both these national traditions.
近年来，日本作家村上春树(生于1949年)的小说被改编成电影，在其作品中展现了一个中心叙事主题:日本历史想象中动荡的过去与当代后工业消费文化之间的分裂。[1]日本导演市川俊(1948年出生)的《托尼·泷谷》(Tonî泷谷，2005年)和陈安雄(1962年出生)的《挪威的森林》(Noruwei no mori, 2012年)描绘了战争、恢复和行动主义的记忆如何影响日本快速发展的经历。然而，鉴于村上春树的小说在东亚更大地区的受欢迎程度，现代化对民族记忆的影响是一个不仅仅在日本观众中引起共鸣的主题。韩国导演李沧东(1954年出生)根据村上春树1992年的短篇小说《燃烧的谷仓》改编的电影《燃烧》(Beoning, 2018)描绘了韩国的超现代现状与国家快速发展过程中被压抑的文化经验之间形成的裂缝。就像村上春树的小说改编自日本一样，《燃烧》打破了当今韩国高度发达条件的自明性，使富裕的首尔景观的物质体验在某种程度上变得不那么真实，同时给这个国家分裂历史的虚拟影响赋予了有形的形式。村上在日本和韩国改编的小说中融合了过去的虚拟维度和现在的物质性，这表明在这两个民族传统的历史想象中，快速发展的虚幻本质有着相似的经历。
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Pub Date : 2020-01-02DOI: 10.1080/17564905.2020.1757269
H. Kim, H. Lee, Moonim Baek
What will become of Joseon cinema? This question emerges from a much more complex situation than does the question of where Joseon cinema is heading towards. The matter of whereto is a problem of dynamics, but the matter of becoming is a problem of existence. Indeed, the problem of existence precedes that of dynamics, since dynamics is a mode of existence. Hence, the question of whereto is already predicated on the problem of becoming as a self-evident fact. On that account, the question of becoming is namely a question of ontological certainty. Before deliberating on the original question, it is necessary to consider what makes us raise such a question in the first place. Wemust keep in mind that the question of what will become of Joseon cinema does not come from some abstract notion of the ontology of Joseon cinema. To tell the truth, the question is more of a reflection of the atmosphere surrounding Joseon cinema nowadays than an independent proposition. This atmosphere is, of course, fermented from a prolonged stagnation resulting from poor ventilation. Why was it ventilated poorly? Of course, it is because film production in Joseon remained inactive for the most part since last year. Nevertheless, there were such periods of stagnation not only in the early days of Joseon cinema but also several times since the talkies. People at that time don’t seem to have been ready to answer the question of what will become of Joseon cinema either. If so, what generated the atmosphere that gave rise to such a question during this recent stagnation that has been lasting no more than a year? It is here that I anticipate something peculiar brought about by last year’s stagnation that has continued till now in Joseon cinema. In the conclusion of my essay last year (Hwa 1941), I highlighted that the future of Joseon cinema depends first on the development of a new stage of cinema as art and second on whether it successfully overcomes the difficulties of industrialization or not. Needless to say, it is clear that this tame observation was no wonder drug at all, given that the stagnation of Joseon cinema had always arisen from those two factors. However, the essay was written by no means to elucidate the past stagnation in film productions, but to elaborate on how if stagnation were to befall once again, it would be because the two factors were not only left unsolved but also in contradiction. Besides, more importantly, I drafted the essay right after the release of Choi In-gyu’s Angels on the Streets and Jeon Chang-geun’sMiles Away from Happiness, foreboding that such a stagnation had already begun to a certain extent. Much time had already passed, and everything changed a great deal since then. Nevertheless, just as many critics including myself predicted in the past, the stagnation in Joseon cinema seems to have returned, inevitably
{"title":"Discourse on Joseon cinema II (Mae-il-Sin-bo, 06.28–30 1942) Im Hwa","authors":"H. Kim, H. Lee, Moonim Baek","doi":"10.1080/17564905.2020.1757269","DOIUrl":"https://doi.org/10.1080/17564905.2020.1757269","url":null,"abstract":"What will become of Joseon cinema? This question emerges from a much more complex situation than does the question of where Joseon cinema is heading towards. The matter of whereto is a problem of dynamics, but the matter of becoming is a problem of existence. Indeed, the problem of existence precedes that of dynamics, since dynamics is a mode of existence. Hence, the question of whereto is already predicated on the problem of becoming as a self-evident fact. On that account, the question of becoming is namely a question of ontological certainty. Before deliberating on the original question, it is necessary to consider what makes us raise such a question in the first place. Wemust keep in mind that the question of what will become of Joseon cinema does not come from some abstract notion of the ontology of Joseon cinema. To tell the truth, the question is more of a reflection of the atmosphere surrounding Joseon cinema nowadays than an independent proposition. This atmosphere is, of course, fermented from a prolonged stagnation resulting from poor ventilation. Why was it ventilated poorly? Of course, it is because film production in Joseon remained inactive for the most part since last year. Nevertheless, there were such periods of stagnation not only in the early days of Joseon cinema but also several times since the talkies. People at that time don’t seem to have been ready to answer the question of what will become of Joseon cinema either. If so, what generated the atmosphere that gave rise to such a question during this recent stagnation that has been lasting no more than a year? It is here that I anticipate something peculiar brought about by last year’s stagnation that has continued till now in Joseon cinema. In the conclusion of my essay last year (Hwa 1941), I highlighted that the future of Joseon cinema depends first on the development of a new stage of cinema as art and second on whether it successfully overcomes the difficulties of industrialization or not. Needless to say, it is clear that this tame observation was no wonder drug at all, given that the stagnation of Joseon cinema had always arisen from those two factors. However, the essay was written by no means to elucidate the past stagnation in film productions, but to elaborate on how if stagnation were to befall once again, it would be because the two factors were not only left unsolved but also in contradiction. Besides, more importantly, I drafted the essay right after the release of Choi In-gyu’s Angels on the Streets and Jeon Chang-geun’sMiles Away from Happiness, foreboding that such a stagnation had already begun to a certain extent. Much time had already passed, and everything changed a great deal since then. Nevertheless, just as many critics including myself predicted in the past, the stagnation in Joseon cinema seems to have returned, inevitably","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"12 1","pages":"82 - 86"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2020.1757269","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41338604","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 : 2020-01-02DOI: 10.1080/17564905.2020.1745527
Chonghwa Chung
ABSTRACT Until the mid 1930s, cinemas in the Bukchon (northern village) district of Gyeongseong (currently Seoul) such as Danseongsa, Jeil Theater, Joseon Theater and Woomigwan dominated the exhibition in Seoul under the Japanese colonial rule. During the colonial era, first or re-run theatres were dedicated to show foreign films, which both colonial Korean and Japanese audiences loved the most. This is in contrast to the situation in Japan, where its domestic films predominated. However, with more acute political conflicts emerged in the region, the Japanese authorities sought to control the colonial Joseon (Korean) film market by restricting the number of screenings and the availability of foreign films. The Motion Picture Control Regulations is seen as the first Japanese ‘screen quota’ in Korea; the Red and White distribution system was established in May 1942 in order to provide screens with domestically produced (both imperial Japanese and colonial Korean) films. Colonial screens were simply not capable of projecting imperial ideology, as it was heavily profit-driven. A conflict between the colonial Korean and imperial Japanese systems drove the industry during this period and in this article, I will examine the transition of the colonial policies on film screenings and challenges arising from the exhibition sector.
{"title":"Between ideology and entertainment: Gyeongseong (Seoul) cinemas under the colonial rule between 1934 and 1942","authors":"Chonghwa Chung","doi":"10.1080/17564905.2020.1745527","DOIUrl":"https://doi.org/10.1080/17564905.2020.1745527","url":null,"abstract":"ABSTRACT Until the mid 1930s, cinemas in the Bukchon (northern village) district of Gyeongseong (currently Seoul) such as Danseongsa, Jeil Theater, Joseon Theater and Woomigwan dominated the exhibition in Seoul under the Japanese colonial rule. During the colonial era, first or re-run theatres were dedicated to show foreign films, which both colonial Korean and Japanese audiences loved the most. This is in contrast to the situation in Japan, where its domestic films predominated. However, with more acute political conflicts emerged in the region, the Japanese authorities sought to control the colonial Joseon (Korean) film market by restricting the number of screenings and the availability of foreign films. The Motion Picture Control Regulations is seen as the first Japanese ‘screen quota’ in Korea; the Red and White distribution system was established in May 1942 in order to provide screens with domestically produced (both imperial Japanese and colonial Korean) films. Colonial screens were simply not capable of projecting imperial ideology, as it was heavily profit-driven. A conflict between the colonial Korean and imperial Japanese systems drove the industry during this period and in this article, I will examine the transition of the colonial policies on film screenings and challenges arising from the exhibition sector.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"12 1","pages":"1 - 18"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2020.1745527","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45351482","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 : 2020-01-02DOI: 10.1080/17564905.2020.1738049
Daniel Johnson
ABSTRACT Tragedy of W (1984) is a film adaptation of a mystery novel by the author Natsuki Shizuko. However, rather than producing a straightforward, ‘page to screen’ style adaptation, the filmmakers opted to change the source material into a story-within-story, shifting the whodunnit into a stage play being performed by a theatre company. This transformation shifts the film’s narrative and aesthetic priorities away from the original story and onto its star, Yakushimaru Hiroko, which in turn requalifies the stakes of adaptation toward the goals of commercial media production in 1980s Japan. This emphasis on stardom within the mise-en-abyme mode of adaptation also generates new aesthetic concerns, such as the use of objects to crowd the edge of the frame, the treatment of stages before the camera, and the mode of performing within a performance. What emerges is an intersection of adaptation with qualities of bracketing and citation, which continuously put the film, its star, and its narrative in ‘quotation marks’ by relying on antecedent forms of meaning that connect the film to its source material, Yakushimaru’s own screen celebrity, and the wider climate of transmedia production and consumption of popular culture in 1980s Japan.
{"title":"Framing adaptation: screen stardom and aesthetics in Tragedy of W (1984)","authors":"Daniel Johnson","doi":"10.1080/17564905.2020.1738049","DOIUrl":"https://doi.org/10.1080/17564905.2020.1738049","url":null,"abstract":"ABSTRACT Tragedy of W (1984) is a film adaptation of a mystery novel by the author Natsuki Shizuko. However, rather than producing a straightforward, ‘page to screen’ style adaptation, the filmmakers opted to change the source material into a story-within-story, shifting the whodunnit into a stage play being performed by a theatre company. This transformation shifts the film’s narrative and aesthetic priorities away from the original story and onto its star, Yakushimaru Hiroko, which in turn requalifies the stakes of adaptation toward the goals of commercial media production in 1980s Japan. This emphasis on stardom within the mise-en-abyme mode of adaptation also generates new aesthetic concerns, such as the use of objects to crowd the edge of the frame, the treatment of stages before the camera, and the mode of performing within a performance. What emerges is an intersection of adaptation with qualities of bracketing and citation, which continuously put the film, its star, and its narrative in ‘quotation marks’ by relying on antecedent forms of meaning that connect the film to its source material, Yakushimaru’s own screen celebrity, and the wider climate of transmedia production and consumption of popular culture in 1980s Japan.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"12 1","pages":"19 - 35"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2020.1738049","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48874354","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 : 2020-01-02DOI: 10.1080/17564905.2020.1743900
P. Pugsley, Akinori Nakamura
ABSTRACT Dai Nipponjin (Big Man Japan) is a 2007 mockumentary that veers wildly across multiple forms of realism to incorporate full-blown farce. This paper examines the final scenes of the film to show how comedian Hitoshi Matsumoto’s debut film shifts through mockumentary and CGI kaigu (giant monster) genres to employ a tokusatsu (live-action special effects) coda that highlights Japan’s subservience to foreign powers and the very real threat of a regional militaristic attack. We contend that over a decade later, Matsumoto’s blending of intertextual frames remains a strangely vivid reminder of Japan’s vulnerability to external forces.
{"title":"The vulnerable nation in Japanese cinema: subservience and salvation in Hitoshi Matsumoto’s Dai Nipponjin [Big Man Japan]","authors":"P. Pugsley, Akinori Nakamura","doi":"10.1080/17564905.2020.1743900","DOIUrl":"https://doi.org/10.1080/17564905.2020.1743900","url":null,"abstract":"ABSTRACT Dai Nipponjin (Big Man Japan) is a 2007 mockumentary that veers wildly across multiple forms of realism to incorporate full-blown farce. This paper examines the final scenes of the film to show how comedian Hitoshi Matsumoto’s debut film shifts through mockumentary and CGI kaigu (giant monster) genres to employ a tokusatsu (live-action special effects) coda that highlights Japan’s subservience to foreign powers and the very real threat of a regional militaristic attack. We contend that over a decade later, Matsumoto’s blending of intertextual frames remains a strangely vivid reminder of Japan’s vulnerability to external forces.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"12 1","pages":"36 - 52"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2020.1743900","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42508096","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 : 2020-01-02DOI: 10.1080/17564905.2020.1745459
Z. Pecic
ABSTRACT This article examines the figure of the shaman in contemporary South Korean cinema. By taking a close look at Cho Jung-rae (Jo Jeong-rae)’s feature Spirits’ Homecoming (Gwihyang, 2016) and Park Chan-kyong (Park Chan-gyeong)’s documentary Manshin: Ten Thousand Spirits (Mansin, 2013), the article argues that the figure of the shaman is deployed in such a way as to articulate South Korean postcolonial anxiety in two diverging ways. Whilst the former film draws on shamanism and nostalgizes the Korean past in relation to the issue of the ‘comfort women’ (military sex slaves) in contemporary South Korean politics, the latter eschews a coherent historical national narrative in favour of a more fragmented and interrogative account of not only South Korean shamanism but the country’s troubled relationship with the Korean War and the post-war modernization project. The article argues that where Cho Jung-rae’s film employs ethnocentrism as the primary lens for a nostalgic memory, Park Chan-kyong’s documentary disarticulates the historical trajectory of nationalist invocations of a shamanist past, as it aligns the nativist tradition with the wider pro-democracy minjung movement.
{"title":"Shamans and nativism: postcolonial trauma in Spirits’ Homecoming (2016) and Manshin: Ten Thousand Spirits (2013)","authors":"Z. Pecic","doi":"10.1080/17564905.2020.1745459","DOIUrl":"https://doi.org/10.1080/17564905.2020.1745459","url":null,"abstract":"ABSTRACT This article examines the figure of the shaman in contemporary South Korean cinema. By taking a close look at Cho Jung-rae (Jo Jeong-rae)’s feature Spirits’ Homecoming (Gwihyang, 2016) and Park Chan-kyong (Park Chan-gyeong)’s documentary Manshin: Ten Thousand Spirits (Mansin, 2013), the article argues that the figure of the shaman is deployed in such a way as to articulate South Korean postcolonial anxiety in two diverging ways. Whilst the former film draws on shamanism and nostalgizes the Korean past in relation to the issue of the ‘comfort women’ (military sex slaves) in contemporary South Korean politics, the latter eschews a coherent historical national narrative in favour of a more fragmented and interrogative account of not only South Korean shamanism but the country’s troubled relationship with the Korean War and the post-war modernization project. The article argues that where Cho Jung-rae’s film employs ethnocentrism as the primary lens for a nostalgic memory, Park Chan-kyong’s documentary disarticulates the historical trajectory of nationalist invocations of a shamanist past, as it aligns the nativist tradition with the wider pro-democracy minjung movement.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"12 1","pages":"69 - 81"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2020.1745459","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47200625","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 : 2020-01-02DOI: 10.1080/17564905.2020.1743901
Fumihiko Hanada
{"title":"Eiga kankyaku towa nanimono ka: media to shakai shutai no kingendaishi [Who is the cinema audience?: A social history of Japanese cinema and media]","authors":"Fumihiko Hanada","doi":"10.1080/17564905.2020.1743901","DOIUrl":"https://doi.org/10.1080/17564905.2020.1743901","url":null,"abstract":"","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"12 1","pages":"87 - 89"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2020.1743901","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48341593","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 : 2019-07-03DOI: 10.1080/17564905.2019.1661955
D. Miyao
ABSTRACT Is it possible to talk about “transnational” when we talk about Japanese cinema? If it is, how? It is true that there are problems in the concept of national cinema. We all know by now that: 1) there has been an essentialist tendency in postwar film criticism and film studies that emphasizes the difference of “Japanese cinema” compared to Hollywood, and 2) “Japanese cinema” cannot be easily regarded as a national cinema in the sense that it reflects a putative national culture. But I must stress that criticizing the concept of national cinema is not equal to bringing in transnational cinema as an alternative. Instead of applying the notion of transnational as a panacean alternative to national cinema, I think it is more productive to discuss specific tensions between national and transnational in the history of Japanese cinema.
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