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Post-Burden Or New Burden Korean Cinema?: Outside Looking In At The Latest Golden Age, 1996-?, Brian M. Yecies
Post-Burden Or New Burden Korean Cinema?: Outside Looking In At The Latest Golden Age, 1996-?, Brian M. Yecies
Faculty of Arts - Papers (Archive)
This work-in-progress examines the paradoxical nature of what I call Koreas post-burden cinema a present-day film industry that has survived Japanese colonialism, American occupation, civil war, prolonged dictatorship, rapid industrialization, economic crisis and severe censorship. For nearly a century filmmakers have learned and practised their trade under these challenging social, political, cultural, economic and industrial constraints, and outlived them. This paper uses a case study of The President's Last Bang to illustrate the divergent freedoms that have enabled representative commercial, art-house, independent and animation filmmakers to transcend national and cultural borders by telling previouslyforbidden stories and breathing a universal but …
Talking Salvation For The Silent Majority: Projecting New Possibilities Of Modernity In The Australian Cinema, 1929-1933, Brian M. Yecies
Talking Salvation For The Silent Majority: Projecting New Possibilities Of Modernity In The Australian Cinema, 1929-1933, Brian M. Yecies
Faculty of Arts - Papers (Archive)
This chapter analyses the distinctiveness of the coming of permanent sound (the talkies) to the Australian cinema in the late 1920s and early 1930s. The coming of sound resulted in fundamental, but not uniform, change in all countries and in all languages. During this global transformation, substantial capital was spent on developing and adopting modern technology. Hundreds of new cinemas were built; tens of thousands were wired with sound equipmentthat is, two film projectors with sound attachments, amplifiers, speakers and electrical motorsand some closed in financial ruin during the Great Depression. The silent period ended and sound became projected as …
Photography, Cinema And Time In Jane Campion's The Piano And Gail Jones' Sixty Lights, Sukhmani Khorana
Photography, Cinema And Time In Jane Campion's The Piano And Gail Jones' Sixty Lights, Sukhmani Khorana
Faculty of Law, Humanities and the Arts - Papers (Archive)
Using the logic of the absence-presence of light (through mimicking shadows and remnant ghosts) in the images/time-images of Gail Jones’ Sixty Lights and Jane Campion’s The Piano, this paper attempts to frame time such that the over-exposed past becomes the blank page of the future. I propose that history, when viewed in the light of the present, enables a truly open future for female and postcolonial subjects. It is important, therefore, to think of the blank page emerging from the over-exposed image not as symbolic of a psychoanalytic lack of the phallus, but as an open response in the wake …