Search Results for contemporary Korean art

... of Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age (2016). Currently, he is working on a new book manuscript entitled “Documentary's Expanded Fields: New Media, New Platforms, and the Documentary.” © 2016 by Camera Obscura 2016 Okin Collective contemporary Korean...

... role in generating communal values and informing an inquiry into the human condition in the contemporary moment. In Reply 1988 , the narrative's presumptive utopia colors the retrieved past in an overly fictional, even ahistorical way, as Korean cultural critics and postmodern scholars have claimed...

... Kouzuki is actually a Korean passing as Japanese, a ch'inil , or collaborationist figure disavowed by postcolonial nationalism, who nevertheless “haunts” contemporary politics. 17 Okju's youthful vulnerability and pale floral hanbok top code her as the colonial cinematic figure of the “ nuui...

...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...

..., and Lie and Abelmann, “The 1992 Los Angeles Riots,” in Koreans in the Hood, ed. Kwang Chung Kim, 75–87. 23. For an account of the downturn in the Hong Kong movie industry, see David Bordwell, Planet Hong Kong: Popular Cinema and the Art of Entertainment (Cambridge: Harvard University...

..., 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-woon Kim, 2003), the remake...

... when they first meet. 1 It thereby tells a problematic story: a woman falls in love with her assailant. Yet given her physical disability, at the turn of the twenty-first century this story was rarely told in either South Korean cinema or the global art-cinema circuit in which Lee was establishing...

... the 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...

... 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 fashion tastes and outlooks on urban romantic relationships...

... Korean Golden Age Melodrama: Gender, Genre, and National Cinema (Wayne State University Press, 2005, 2007), and the co-editor of a special issue of Signs on film feminisms (2004). She has published articles on domesticity, feminism, melodrama, the avant-garde, and autobiography in such journals...

... continuity. 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 transmediated continuity, in its mediated mixture...

... lesbian-­themed films directed by men it would be much longer. Not all of the directors listed are queer, although several are. 43. In an example from public broadcast television, online replays of Daughters of Club Bilitis, an hour-­long Korean Broadcasting System drama about three...

... Asian “enemies” across tropical sites of US imperialism. As the “word for natives everywhere,” gook gained traction in reference to Southeast Asians after the Korean War. 17 The gook's indigeneity to the jungle and, relatedly, interchangeability between cognates of US empire produced a geopolitical...

... to “American business management . . . a society administered through highly sophisticated mechanisms for fore- cast, planning and control.”10 In a broader sense, it referred to three things: the ties to corporate and international business cul- ture that boomed during the Korean and Vietnam wars...

... his “exceptional Korean heritage” so that a “comfortable, homogeneous ‘Chinese’ coupling” could be facilitated. 56 In other words, if the desire embodied by the white male gaze is based on exoticism, that is, the desire for the racial other, then the yellow men's desire for Wong's characters...

... the reader to negotiate back and forth between Japanese and Western faces in a complex combination of gender juxtaposition, while putting into place Japanese, Koreans, and Chinese on the Asian continent through a form of code-switching.”13 While her discussion is less specifically concerned...

... or American; rather, they desire a more refined Oriental eye . . . . An upper lid western- ization blepharoplasty frequently is given to a young Korean woman on the occasion of her betrothal [210]. Although other surgeons warn that it is “wise to discuss the Oriental and Occidental eye...

... rather than with women. Any discussion of Alda’s stardom must include M*A*S*H, which ran on the CBS network from 1972 to 1983. Alda’s character, Benjamin Franklin “Hawkeye” Pierce, a medical doctor serving in the Korean War, was the show’s focus during the entire run. Alda himself wrote...

... 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 aggressive trade policy to improve the state of the economy, but it appeared...