Pub Date : 2019-12-01DOI: 10.25024/kj.2019.59.4.228
Choi Lee Jin
{"title":"[Book Review] Globalization, Mobility and Education Migrants: Education Exodus in South Korea","authors":"Choi Lee Jin","doi":"10.25024/kj.2019.59.4.228","DOIUrl":"https://doi.org/10.25024/kj.2019.59.4.228","url":null,"abstract":"","PeriodicalId":44424,"journal":{"name":"KOREA JOURNAL","volume":"59 1","pages":"228-235"},"PeriodicalIF":0.4,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49257595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-01DOI: 10.25024/kj.2019.59.4.103
Yuhee Park
Since the 1990s, the genres of Korean film have been re-imagined, and the changed status of melodramas symbolizes this. Melodrama, which was a mainstream genre of Korean film for a long time, has been dissolved into a variety of emerging film genres, losing its dominance. This evolution has been commensurate with the imperative to secure distance from the emotions centered on the pathos of compassion and sympathy, and to question the period dominated by such emotions. The trajectory of Korean films in the 1990s, which began with a greater focus on romantic comedy and continued into comic action films, and the rise of thrillers in the 2000s, demonstrate this transformation. Since the 2000s Comedies and thrillers have acted as a common denominator of genre hybridization, maintaining their status as mainstream genres. This is because these two genres are most suitable for reflecting and reenacting the dynamics of Korean society and the specificity of its modernization due to the coexistence of a delayed modernity and a nascent post-modernity in Korea. In this transformation of film genres, current Korean films embody a labyrinth without an exit where the pursuit of rationality ends in failure or deepens an ironic aesthetic that calls for a contemplative form of humor regarding the coexistence of heterogeneity, contradictions, and absurdity. macroscopic approaches to genre formation and development, the interconnections between and the relationship between social changes and genre
{"title":"From the Era of Melodrama to the Age of the Comedy and the Thriller: The Simultaneous Transformations of Korean Society and Film Genre From the 1990s to the Present","authors":"Yuhee Park","doi":"10.25024/kj.2019.59.4.103","DOIUrl":"https://doi.org/10.25024/kj.2019.59.4.103","url":null,"abstract":"Since the 1990s, the genres of Korean film have been re-imagined, and the changed status of melodramas symbolizes this. Melodrama, which was a mainstream genre of Korean film for a long time, has been dissolved into a variety of emerging film genres, losing its dominance. This evolution has been commensurate with the imperative to secure distance from the emotions centered on the pathos of compassion and sympathy, and to question the period dominated by such emotions. The trajectory of Korean films in the 1990s, which began with a greater focus on romantic comedy and continued into comic action films, and the rise of thrillers in the 2000s, demonstrate this transformation. Since the 2000s Comedies and thrillers have acted as a common denominator of genre hybridization, maintaining their status as mainstream genres. This is because these two genres are most suitable for reflecting and reenacting the dynamics of Korean society and the specificity of its modernization due to the coexistence of a delayed modernity and a nascent post-modernity in Korea. In this transformation of film genres, current Korean films embody a labyrinth without an exit where the pursuit of rationality ends in failure or deepens an ironic aesthetic that calls for a contemplative form of humor regarding the coexistence of heterogeneity, contradictions, and absurdity. macroscopic approaches to genre formation and development, the interconnections between and the relationship between social changes and genre","PeriodicalId":44424,"journal":{"name":"KOREA JOURNAL","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45254669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"[On This Topic] A Century of Korean Film: From “Joseon Film” to Global Korean Cinema","authors":"Chung Chonghwa","doi":"10.25024/kj.2019.59.4.5","DOIUrl":"https://doi.org/10.25024/kj.2019.59.4.5","url":null,"abstract":"","PeriodicalId":44424,"journal":{"name":"KOREA JOURNAL","volume":"59 1","pages":"5-15"},"PeriodicalIF":0.4,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44783534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-01DOI: 10.25024/kj.2019.59.4.78
Hyoin Yi
{"title":"Coevolution of Conventions and Korean New Wave: Korean Cinema in the 1970s and 80s","authors":"Hyoin Yi","doi":"10.25024/kj.2019.59.4.78","DOIUrl":"https://doi.org/10.25024/kj.2019.59.4.78","url":null,"abstract":"","PeriodicalId":44424,"journal":{"name":"KOREA JOURNAL","volume":"59 1","pages":"78-102"},"PeriodicalIF":0.4,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46131533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-01DOI: 10.25024/kj.2019.59.4.16
Chung Chonghwa
Inspired by the idea that Korean films during the colonial and post-liberation periods (1919–1948) constantly question the boundaries of Korean national cinema, this article suggests that those films produced during the periods be designated as “Joseon film” (Joseon yeonghwa) and aims to examine the backdrops and potential effects of the nomenclature. In doing so, this paper reexamines the boundaries of Korean film history. At the center of this discourse are ten Joseon films the Korea Film Archive has rediscovered over the past decade, of which this article focuses on three Tuition (1940), Angels on the Streets (1941), and Seagull (1948); all discovered at overseas film archives. These three films constantly evoke and prompt questions on the conceptual definition of Korean film, even though they have been included in the historiography of early Korean cinema and been preserved materially in the Korean Film Archive. Tuition and Angels on the Streets, dating from the Japanese colonial period, and Seagull, dating from the post-liberation period. I examine their production and distribution on the boundaries between Joseon and Korean cinema and between colonial and nation-state cinema. Although the former two films aimed at becoming imperial Japan’s state (Gukka) films, they came to be categorized as Joseon (Minjok, ethnic) cinema by imperial Japan since the colonial realities reflected in the film were problematic to mainland Japan. The nationbuilding propaganda film Seagull, which was produced and distributed in 1948, had to start negotiating with the state to become South Korean film. It could not be legitimated as a South Korean film as it was filmed, since the print was confiscated by the authorities due to the actors who defected to North Korea. Reviewing the designations of and the boundaries between Joseon and Korean cinema, this article takes a critical approach to Korean film historiography of the Japanese colonial and post-liberation periods in Korea.
{"title":"The Identity of “Joseon Film”: Between Colonial Cinema and National Cinema","authors":"Chung Chonghwa","doi":"10.25024/kj.2019.59.4.16","DOIUrl":"https://doi.org/10.25024/kj.2019.59.4.16","url":null,"abstract":"Inspired by the idea that Korean films during the colonial and post-liberation periods (1919–1948) constantly question the boundaries of Korean national cinema, this article suggests that those films produced during the periods be designated as “Joseon film” (Joseon yeonghwa) and aims to examine the backdrops and potential effects of the nomenclature. In doing so, this paper reexamines the boundaries of Korean film history. At the center of this discourse are ten Joseon films the Korea Film Archive has rediscovered over the past decade, of which this article focuses on three Tuition (1940), Angels on the Streets (1941), and Seagull (1948); all discovered at overseas film archives. These three films constantly evoke and prompt questions on the conceptual definition of Korean film, even though they have been included in the historiography of early Korean cinema and been preserved materially in the Korean Film Archive. Tuition and Angels on the Streets, dating from the Japanese colonial period, and Seagull, dating from the post-liberation period. I examine their production and distribution on the boundaries between Joseon and Korean cinema and between colonial and nation-state cinema. Although the former two films aimed at becoming imperial Japan’s state (Gukka) films, they came to be categorized as Joseon (Minjok, ethnic) cinema by imperial Japan since the colonial realities reflected in the film were problematic to mainland Japan. The nationbuilding propaganda film Seagull, which was produced and distributed in 1948, had to start negotiating with the state to become South Korean film. It could not be legitimated as a South Korean film as it was filmed, since the print was confiscated by the authorities due to the actors who defected to North Korea. Reviewing the designations of and the boundaries between Joseon and Korean cinema, this article takes a critical approach to Korean film historiography of the Japanese colonial and post-liberation periods in Korea.","PeriodicalId":44424,"journal":{"name":"KOREA JOURNAL","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43398638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-01DOI: 10.25024/kj.2019.59.4.194
김한상
{"title":"The Primacy of Li (Principle) in the NeoConfucian Philosophy of Zhu Xi: Significance for Contemporary Korean Society","authors":"김한상","doi":"10.25024/kj.2019.59.4.194","DOIUrl":"https://doi.org/10.25024/kj.2019.59.4.194","url":null,"abstract":"","PeriodicalId":44424,"journal":{"name":"KOREA JOURNAL","volume":"59 1","pages":"194-216"},"PeriodicalIF":0.4,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47697218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-01DOI: 10.25024/kj.2019.59.4.217
Cho Eun Sook
{"title":"[Book Review] Prospect for the Future of Research on Korean Children’s Literature","authors":"Cho Eun Sook","doi":"10.25024/kj.2019.59.4.217","DOIUrl":"https://doi.org/10.25024/kj.2019.59.4.217","url":null,"abstract":"","PeriodicalId":44424,"journal":{"name":"KOREA JOURNAL","volume":"59 1","pages":"217-227"},"PeriodicalIF":0.4,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44217493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-01DOI: 10.25024/kj.2019.59.4.48
G. Lee
{"title":"The Status of Historical Drama Films in South Korea in the 1960s: The Relevance between the Film Industry and Genre Films","authors":"G. Lee","doi":"10.25024/kj.2019.59.4.48","DOIUrl":"https://doi.org/10.25024/kj.2019.59.4.48","url":null,"abstract":"","PeriodicalId":44424,"journal":{"name":"KOREA JOURNAL","volume":"59 1","pages":"48-77"},"PeriodicalIF":0.4,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47485384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-01DOI: 10.25024/kj.2019.59.4.136
Suhyun Kim
{"title":"(In)Commensurability of Korean Cinema: International Coproduction of Korean Films in the 2010s","authors":"Suhyun Kim","doi":"10.25024/kj.2019.59.4.136","DOIUrl":"https://doi.org/10.25024/kj.2019.59.4.136","url":null,"abstract":"","PeriodicalId":44424,"journal":{"name":"KOREA JOURNAL","volume":"59 1","pages":"136-166"},"PeriodicalIF":0.4,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44131247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-01DOI: 10.25024/kj.2019.59.3.104
Mark E. Caprio
{"title":"The Evolution of the South Korean-United States Alliance","authors":"Mark E. Caprio","doi":"10.25024/kj.2019.59.3.104","DOIUrl":"https://doi.org/10.25024/kj.2019.59.3.104","url":null,"abstract":"","PeriodicalId":44424,"journal":{"name":"KOREA JOURNAL","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45398574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：