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Korean modernity

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 27–59.
Published: 01 December 2015
...Kyoung-Lae Kang This essay examines two films, Modern Boy (dir. Ji-woo Jeong, South Korea, 2008) and Private Eye (dir. Dae-min Park, South Korea, 2009), both of which depict Seoul in the 1930s—the period during which Korean colonial modernity was fully shaped—and in so doing draw contemporary...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2016) 31 (3 (93)): 141–151.
Published: 01 December 2016
...Jihoon Kim This article examines a series of video works by Okin Collective, a group of three Korean artists (Jin Shiu, Kim Hwayong, and Yi Joungmin) who have over the past few years been productively concerned with an array of political, social, and cultural issues from both local and global...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2005) 20 (3 (60)): 15–55.
Published: 01 December 2005
... Japanese, Koreans, and Chinese on the Asian continent through a form of code-switching.”13 While her discussion is less specifically concerned with the woman’s film, her analysis of cross-cultural aspects of 1930s Japanese popular culture is relevant to interpret...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 63–87.
Published: 01 September 2017
... representation of masculine traumatic symptoms in both Richard Condon's 1959 novel and Frankenheimer's cinematic adaptation of it. In a period of national shame about the unwon Korean conflict, Frankenheimer first feminizes his protagonists by rendering them hysterical, and then allows them to redeem themselves...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2009) 24 (2 (71)): 139–159.
Published: 01 September 2009
..., Japan/US/Germany, 2004, starring Sarah Michelle Gellar); and Honogurai mizu no soko kara (Dark Water, dir. Hideo Nakata, Japan, 2002), remade as Dark Water (dir. Walter Salles, 2005, featuring Jennifer Connelly); as well as the Korean psycho- logical horror film A Tale of Two Sisters (dir. Ji...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 11–39.
Published: 01 May 2015
... helpful example of transmediated continu- ity. Or rather, the idea of Kate is a good case in point, particularly since the Caucasian Kate, her ex-­husband, the “Asian-­looking” Jon (of white, Korean, and Hawaiian lineage), and their eight “little China doll” kids reveal the degree to which...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2014) 29 (2 (86)): 35–57.
Published: 01 September 2014
... sentiment of modern romantic love to China. These imported youth dramas “have exerted a powerful influence on the development of contemporary Chinese youth culture.”9 Indeed, Japanese “fever” and the “Korean Wave” of the 1990s and the early twenty-first­ century have affected Chinese youth’s...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2012) 27 (1 (79)): 1–29.
Published: 01 May 2012
... cul- ture that boomed during the Korean and Vietnam wars; the adap- tations of private life to accommodate the rhythms and economic ows of corporate life; and the private awareness of one’s ties to hitherto abstract statistics like the gross domestic product (GDP). The housewife is the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... Monash University. She is author of The Chinese Exotic: Modern Diasporic Femininity (Hong Kong University Press, 2007); coauthor, with Belinda Smaill and Audrey Yue, of Transnational Australian Cinema: Ethics in the Asian Diasporas (Lexington, 2013); and coeditor, with Sean Metzger, of Futures of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 35–61.
Published: 01 December 2011
... Korean War, was the show’s focus during the entire run. Alda himself wrote thirteen episodes and directed more than thirty. His production control gradually grew, particularly after original producers Larry Gelbart and Gene Reynolds left the show in 1977, leading some critics to call the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 78–116.
Published: 01 January 1988
... militancy among work• ers, influential corporate and business leaders considered increases in con• sumer spending-increases of 30% to 50% -to be necessary to perpetuate prosperity in the postwar era Defense spending for the Cold War and Korean Conflict had complemented an...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2005) 20 (1 (58)): 149–183.
Published: 01 May 2005
.... Perhaps no film better exemplifies such paranoid recur- sivities than The Manchurian Candidate. Critics in 1962 found it unprecedentedly labyrinthine and despaired of intelligible sum- mary. But synopsis is not difficult: a company of US soldiers cap- tured in the Korean War is brainwashed by communists...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2011) 26 (1 (76)): 1–37.
Published: 01 May 2011
... same equation [of tools with culture, rationality, progress, and (modern/Western/ colonizing) Man] is deployed for keeping the gates carefully policed as to which inventors and users are credited for making ‘progress’ and ‘civilization,’ and which are devalued or erased from the his- tory of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1992) 10 (1 (28)): 206–237.
Published: 01 January 1992
... Korean woman on the occasion of her betrothal [210]. Although other surgeons warn that it is “wise to discuss the Oriental and Occidental eye anatomy in terms of differences not at least one other medical article on this type of surgery was titled “Correction of the Oriental Eyelid.”29...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2013) 28 (2 (83)): 77–107.
Published: 01 September 2013
... Korean descent. The driving narrative of the documentary is Avery’s attempt to get to know her biological mother, a black woman who remains invisible throughout the film and is only heard from through letters. She is nevertheless a strong presence who is not reduced to a caricature of black...