Pub Date : 2018-07-03DOI: 10.1080/17564905.2018.1518362
K. Taylor-Jones
ABSTRACT In the early Korean film we follow the melodramatic life of an unfaithful housewife. Sweet Dreams situates itself at the heart of the Korean colonial experience with urban Seoul as the backdrop to a narrative of deceit, adultery and consumerism. This article will explore how Sweet Dreams functions both as a warning about the perils of modern womanhood and, simultaneous to this, a vision of consumerist pleasure and delight. This article examines how the actions of lead character Ae-soon constitute a process by which the adult women is rendered girl via her positioning at the locus of female visual pleasure. I use the term girl as a process rather than a static category since, as will be explored, the attributes of girlhood with relation to Sweet Dreams are both expansive and fluid. In this way girlhood can be appropriated for transgressive purposes, not only in terms of a visualization of a desiring femininity, but also as a marker of colonial dissent. I argue that Sweet Dreams uses the interplay between the categories of woman and girl to disrupt the colonial drive towards a productive body in favour of the delights of consumption.
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Pub Date : 2018-07-03DOI: 10.1080/17564905.2018.1518691
Daniel Martin
The astonishing rise over the last two decades of the South Korean film industry – a domestic box-office titan, a continued presence on the global stage – is a subject that has received exhaustive ...
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Pub Date : 2018-07-03DOI: 10.1080/17564905.2018.1518689
Moonim Baek
Korean cinema during the colonial era has become the subject matter of the most productive scholarship in Korean language over the last decade. Contemporary Korean scholarship on colonial cinema challenges the canonical work of critics such as Young-il Lee, who offered a nationalist perspective on the relationship between Korean cinema and its coloniality. In Hangukyeonghwa Jeonsa [The Whole History of Korean Cinema] ([1969] 2004), for instance, Lee prioritizes the cinematic resistance to the ruling of Japanese empire in Korea. The emerging scholarship, in contrast, has tried to adopt a postcolonial as well as a transnational perspective that enables scholars who commands the Korean language, to examine an ecology of film production, culture and appreciation, which should and could not be reduced to the old dichotomy of Japanese oppression and Korean resistance. This methodological turn has inevitably involved the reconsideration and revaluation of the concept of national cinema; the term ‘Korean cinema’ is replaced by ‘Joseon [the official name for colonial Korea] cinema,’which underscores a rupture existing between the colonial and postcolonial status of Joseon and Korean cinema, respectively. Such reconsideration indeed serves to break the seamless linearity and continuity postulated by a majority of previous scholarship. The new scholarship has excavated the conflicting aspects of Japanese regulations on Joseon cinema, informed by both the insights drawn from digital archiving and the postcolonial turn in the humanities since the early 2000s. Contemporary scholarship on colonial cinema is a response to such changes that have called for more flexible and nuanced views on the relationship between the colonizer and the colonized. What made this shift more invigorating was, from 2004 onwards, the ‘unearthing’ of a few film prints produced in the colonial period. Such discovery was possible through the cooperation among various national film archives in Korea, Japan, China, and Russia. Most of the ‘unearthed’ prints (11 out of 15) were war propaganda films, which had previously been excluded from respective historiographies. Recently discovered and digitized films of this era have invited scholars’ historical as well as theoretical contemplations on the matters that have not been recognized as significant. The war propaganda films that were made available to the public between 2004 and 2014 include Gunyongyeolcha [Military Train] (1938) directed by former-socialist Gwang-je Seo, which bluntly encourages Korean men to volunteer for Japanese military service, while Jipeopneun Cheonsa [Angels on the Streets] (1941) directed by In-gyu Choe, feature characters who declare a clear-cut loyalty to the Japanese Emperor under the Rising Sun Flag. Newly discovered
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Pub Date : 2018-01-02DOI: 10.1080/17564905.2018.1450471
W. Carroll
ABSTRACT This paper reconsiders the genre filmmaker Suzuki Seijun's relationship to the political moment of 1968 through a reading of his 1966 film Fighting Elegy. This reading is informed by critical discourses surrounding Suzuki at the time, particularly drawing from a 1969 essay on the film by critic Gondō Susumu at the cinephile film journal Cinema 69. It argues that his methodology of seeking out the film's reactive structure of interest helps to understand the politics of the film, and in turn helps us to recover the politics within Suzuki's Nikkatsu filmography as a whole, as well as that of the cinephiles, who have frequently been written off as simple formalists. This paper expands on the involvement of members of the radical Wakamatsu Production Company in Fighting Elegy and his other late Nikkatsu and post-Nikkatsu work, as well as its unfilmed sequel, whose screenplay was published in the wake of the Suzuki Seijun Incident in 1968.
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Pub Date : 2018-01-02DOI: 10.1080/17564905.2018.1457612
Agata Ewa Wrochna
ABSTRACT This article examines the recent 2014 South Korean sex comedy Casa Amor: Exclusive for Ladies, in an attempt to contextualize representations of female sexuality within the socio-geographic discourse. At the same time, it aims to demonstrate the ways in which ideals of the third wave feminist thought are employed in order to first seemingly promote, but ultimately trivialize and discount the experience of female sexuality. Despite South Korea’s status as a technologically fast developing state, societal topics of gender and sexuality continue to be sensitive and difficult to portray in the media. This article brings to the readers’ attention the Neo-Confucian roots of this patriarchal legacy, as well as its current situation in the context of cultural and legislative taboos that are sex and pornography. In the latter part, the essay focuses on the analyses of on-screen femininity presented in Casa Amor, employing feminist concepts such as ‘girlfriend culture’ and ‘womance’. It also provides a comparative reading of the Korean feature to its original predecessor, Brazilian De Pernas Pro Ar, emphasizing the former’s transnational values and critiquing its failure to reclaim ‘the women’s gaze’.
摘要本文探讨了2014年韩国最新的性爱喜剧《卡萨阿莫尔：女性专属》，试图将女性性行为在社会地理话语中的表现置于情境中。同时，它旨在展示第三波女权主义思想的理想是如何被运用的，目的是首先看似促进，但最终淡化和贬低女性的性体验。尽管韩国是一个技术快速发展的国家，但性别和性的社会话题仍然很敏感，很难在媒体上报道。本文提请读者注意这种父权制遗产的新儒家根源，以及在性和色情等文化和立法禁忌的背景下的现状。在后一部分，本文运用“女朋友文化”和“女性主义”等女性主义概念，重点分析了《卡萨阿莫尔》中呈现的银幕女性气质。它还将韩国特辑与其前身巴西的De Pernas Pro Ar进行了比较解读，强调了前者的跨国价值观，并批评其未能重新获得“女性的目光”。
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Pub Date : 2018-01-02DOI: 10.1080/17564905.2018.1450470
Richard M. Davis
ABSTRACT This article focuses on the advent of synchronized sound production in Japan in 1931 – three years later than the United States – and the generative ambiguities of how sound and music's relationship to film was figured in that year's anxious discourse. I argue that this ‘belatedness’ is echoed in relationships of on-screen image and offscreen sound, noise, and music in two important early sound films, The Neighbor's Wife and Mine (Gosho 1931) and A Tipsy Life (Kimura 1933).
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Pub Date : 2018-01-02DOI: 10.1080/17564905.2018.1437660
Michael E. Crandol
ABSTRACT The 1930s were crucial years in the development of the horror film as an international genre of popular cinema. At the same time Hollywood hits like Dracula and Frankenstein made global icons of their stars, Bela Lugosi and Boris Karloff, Japanese actress Suzuki Sumiko achieved a similar type of fame as her nation’s first horror star. In contrast to Hollywood ‘scream queens’ like Fay Wray, Suzuki most often played the monster, not its victim, making her place in horror history more akin to male stars like Lugosi and Karloff. Suzuki inaugurated a line of Japanese female film monster stars by portraying a traditional feminine monster of the kabuki theatre, the bakeneko or ‘ghost cat,’ and Suzuki and her successors’ bakeneko pictures often take on the style and motifs of Hollywood horror while still remaining true to native visual representations of the grotesque and monstrous in Japanese art and theatre that predate the advent of cinema. The result is a meeting of two distinct traditions in the body of the star actress that recasts a well-known monster of woodblock prints and the kabuki stage in the fashion of Lugosi’s hypnotic vampire Count Dracula.
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Pub Date : 2017-07-03DOI: 10.1080/17564905.2017.1368144
A. D. Jackson
ABSTRACT Lee Gwang-mo’s 1998 film Spring in My Hometown (Areumdaun sijeol) tells the story of the tragic impact of the Korean War on the children of a village servicing a local US Army base. One of the film’s distinctive formal features is a set of intertitles in the style of silent film title cards that frame the beginning and end of particular sequences of the film. Each intertitle provides a running commentary of historical and fictional events occurring contemporaneously in the Korean War and in the village. The film’s stunning cinematography has attracted academic attention, but was also criticized for creating an aesthetic spectacle that could be enjoyed by spectators while eliding the brutal history of the war. This paper makes use of publicity materials, reviews, and research on intertitles in silent film to demonstrate that the use of intertitles is central to the film’s foregrounding of tragic history. The film places the audience into a more uncomfortable viewing position than other Korean War films of the period by implicating them in the violence. It also explores the complex relationship between memory and the recording of history, and gives voice to unheard testimonies of the conflict. In this way, Spring in My Hometown accomplishes something quite singular in distinction with narrative Korean War films either before or since.
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Pub Date : 2017-07-03DOI: 10.1080/17564905.2017.1378414
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