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The Korean “Cinema Of Assimilation” And The Construction Of Cultural Hegemony In The Final Years Of Japanese Rule, Brian Yecies, Richard Howson
The Korean “Cinema Of Assimilation” And The Construction Of Cultural Hegemony In The Final Years Of Japanese Rule, Brian Yecies, Richard Howson
Faculty of Law, Humanities and the Arts - Papers (Archive)
During the late 1930s, as Japan escalated war preparations with China, and after Governor-General Minami formalized the assimilationist ideology of “Japan and Korea as One Body”, cinema in Korea experienced a fundamental transformation. Korean filmmakers had little choice but to make co-productions that aimed to draw Koreans toward Japanese ways of thinking and living, while promoting a sense of loyalty to the Japanese Empire. Within this colonial context, and especially after the 1940 Korean Film Law facilitated the absorption of the Korean film industry into the Japanese film industry, a particular type of masculine hegemony was encouraged by a comprehensive …
Cinema Of Actuality: Japanese Avant-Garde Filmmaking In The Season Of Image Politics By Yuriko Furuhata (Review), Michael Leggett
Cinema Of Actuality: Japanese Avant-Garde Filmmaking In The Season Of Image Politics By Yuriko Furuhata (Review), Michael Leggett
Faculty of Law, Humanities and the Arts - Papers (Archive)
The Japanese word eizo is central to an understanding of the significance of the interventions made into the cultural life of the nation by a relatively small grouping of artists and writers working between the 1950s and 1970s. Traditionally used as a phenomenological term in science and philosophy, the character connoted shadow or silhouette, later shifting to signify optical processes. Like the Greek term tehkne, creativeness and the tools used to achieve the outcome are relative, nuanced and complex.