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Full-Text Articles in Arts and Humanities
The Douban Online Social Media Barometer And The Chinese Reception Of Korean Popular Culture Flows, Brian Yecies, Jie Yang, Ae-Gyung Shim, Kai Ruo Soh, Matthew J. Berryman
The Douban Online Social Media Barometer And The Chinese Reception Of Korean Popular Culture Flows, Brian Yecies, Jie Yang, Ae-Gyung Shim, Kai Ruo Soh, Matthew J. Berryman
Faculty of Law, Humanities and the Arts - Papers (Archive)
Since its launch in 2005, the Chinese online social networking site Douban has become a key platform for creating and sharing user-generated content on a rising tide of global popular culture. Such content and its corresponding user data has become so prolific that Western media outlets are now using Douban a key barometer for gauging representative opinions and attitudes towards foreign content in China. However, a full range of tools for harvesting and analyzing Chinese-language datasets has yet to be explored in English. This article attempts to fill this gap by investigating the applicability of an analytical framework that can …
Film Pioneer Lee Man-Hee And The Creation Of A Contemporary Korean Cinema Legend, Ae-Gyung Shim, Brian Yecies
Film Pioneer Lee Man-Hee And The Creation Of A Contemporary Korean Cinema Legend, Ae-Gyung Shim, Brian Yecies
Faculty of Law, Humanities and the Arts - Papers (Archive)
At the peak of Korean cinema's contemporary golden age in the mid-2000s, 1960s auteur director Lee Man-hee and his films were rediscovered and have since become appreciated in ways that Lee himself never experienced. In 2010, his classic Late Autumn was remade as a transnational coproduction for a pan-Asian audience. Four decades after his death, Lee remains one of the most influential directors in Korea's history. To understand his legacy and its sociohistorical conditions, the authors analyze how Lee's provocative genre experimentation reinvigorated the Korean film industry in the 1960s under Park Chung-hee's authoritarian regime, a spirit that remains alive …
The Chinese-Korean Co-Production Pact: Collaborative Encounters And The Accelerating Expansion Of Chinese Cinema, Brian Yecies
The Chinese-Korean Co-Production Pact: Collaborative Encounters And The Accelerating Expansion Of Chinese Cinema, Brian Yecies
Faculty of Law, Humanities and the Arts - Papers (Archive)
Official film co-production treaties are designed by policymakers to stimulate a range of collaboration and media flows as determinants of country rankings. China, where , technology transfer, and joint funding initiatives in the industry. Since July 2004, the Chinese government has used this top-down approach to cultural diplomacy as a symbolic tool for advancing Chinese cinema and opening the domestic market to a host of willing international partners. Korean filmmakers in particular have exploited the (often informal) opportunities presented, engaging in vigorous cooperation between film industry firms and practitioners is making significant inroads, is one such case, having fallen outside …
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 …
Power Of The Korean Film Producer: Dictator Park Chung Hee's Forgotten Film Cartel Of The 1960s Golden Decade And Its Legacy, Ae-Gyung Shim, Brian Yecies
Power Of The Korean Film Producer: Dictator Park Chung Hee's Forgotten Film Cartel Of The 1960s Golden Decade And Its Legacy, Ae-Gyung Shim, Brian Yecies
Faculty of Arts - Papers (Archive)
After censorship was eliminated in 1996, a new breed of writer-directors created a canon of internationally provocative and visually stunning genre-bending hit films, and new and established producers infused unprecedented venture capital into the local industry. Today, a bevy of key producers, including vertically integrated Korean conglomerates, maintain dominance over the film industry while engaging in a variety of relatively near-transparent domestic and international expansion strategies. Backing hits at home as well as collaborating with filmmakers in China and Hollywood have become priorities. In stark contrast to the way in which the film business is conducted today is Korean cinema’s …
Contemporary Korean Cinema: Challenges And The Transformation Of ‘Planet Hallyuwood’, Brian Yecies, Ae-Gyung Shim
Contemporary Korean Cinema: Challenges And The Transformation Of ‘Planet Hallyuwood’, Brian Yecies, Ae-Gyung Shim
Faculty of Arts - Papers (Archive)
This article examines how the South Korean cinema has undergone a transformation from an ‘antiquated cottage industry’ in the 1980s into a thriving international cinema – albeit with a host of new challenges and tensions – in the ‘post-boom’ years of the 2000s right up to the present. Its analysis of film culture in the 1980s sets the stage for the Korean cinema’s transnational development over the last decade, and points to a longer historical continuum involving the ‘re-emergence’ in the 1980s of a ‘cinema of quality’ that was marked by widespread critical acclaim. Additionally, this article canvasses the key …
Cinematic Hooks For Korean Studies: Using The ‘Apache’ Framework For Inspiring Students About Korea In And Through Film, Brian M. Yecies, Ben Goldsmith
Cinematic Hooks For Korean Studies: Using The ‘Apache’ Framework For Inspiring Students About Korea In And Through Film, Brian M. Yecies, Ben Goldsmith
Faculty of Arts - Papers (Archive)
Developing awareness of and maintaining interest in Korea and Korean culture for non-language secondary and tertiary students continues to challenge educators in Australia. A lack of appropriate and accessible creative and cultural materials is a key factor contributing to this challenge. In light of changes made to ‘fair use’ guidelines for the Digital Millennium Copyright Act in the United States in July 2010, and in order to prepare for a time in the near future when Australian copyright regulations might follow suit, this article offers a framework for utilizing film and digital media contents in the classroom. Case studies of …
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 …
"Hating 'The Korean Wave'" Comic Books: A Sign Of New Nationalism In Japan?, Rumi Sakamoto, Matthew Allen
"Hating 'The Korean Wave'" Comic Books: A Sign Of New Nationalism In Japan?, Rumi Sakamoto, Matthew Allen
Faculty of Law, Humanities and the Arts - Papers (Archive)
The internet has become an increasingly influential medium throughout East Asia. In this article we examine the case of Kenkanryu ('"Hating 'The Korean Wave'"), a manga published in 2005 in hard copy, but available online as a web comic for many months prior to print publication. We argue that the content, while nationalist, xenophobic, and 'toxic' is only one of a number of other, media-related reasons for the sales success of this comic in Japan. Other factors are the influence of online chat groups, the web as a means of communicating and selling ideas and products, and the internet-savvy way …
Reading Korean Stardom: Number 3 And The Reel, Real And Star Transformation Of Song Kang-Ho, Brian M. Yecies
Reading Korean Stardom: Number 3 And The Reel, Real And Star Transformation Of Song Kang-Ho, Brian M. Yecies
Faculty of Arts - Papers (Archive)
This article focuses on Number Three and attempts to provide a window of understanding of Song Kang-Ho and the development of his artistry, which became crystallized in the early part of his filmmography. Number Three is an important film because Song Kang-Ho’s recognition and popularity began to spread after his performance in it. However, to date, few scholars have methodically explored and analyzed the transformation of his persona. Over the last seven years Song has appeared in some the most popular films as well as on the covers of numerous issues of Cine21 and Filml.O, two of Korea’s largest film …
Hurray For Pusan And The Korean New Wave!, Brian M. Yecies, Aegyung Shim Yecies
Hurray For Pusan And The Korean New Wave!, Brian M. Yecies, Aegyung Shim Yecies
Faculty of Arts - Papers (Archive)
For nine days in November 2001 (9th-17th), the 6th Pusan International Film Festival (PIFF) rocked the seaside city of Pusan. A record 659 industry guests from 30 countries, 3100 official Korean guests, and more than a hundred thousand moviegoers filled the seats of 332 completely sold-out, or near sell-out screenings in 15 different theatres. Thousands and thousands of curious festival fans filled the small streets and alleyways in the Downtown-Nampodong festival area, enjoying the stars, lights, cameras, and all of the promotional PIFF booths and kiosks. A total of 126,613 paid tickets were sold to 201 films from 60 countries, …
Korean Post New Wave Film Director Series: Kim Ki-Duk, Brian M. Yecies, Aegyung Shim Yecies
Korean Post New Wave Film Director Series: Kim Ki-Duk, Brian M. Yecies, Aegyung Shim Yecies
Faculty of Arts - Papers (Archive)
Shortly after the release of his new film Bad Guy (Korea 2001), KIM Ki-Duk announced that he was not giving any more interviews. He took a vow of silence, because many of his critics had been criticizing him. I decided to ask him for an interview anyway. He accepted my invitation right away. I reviewed his website (www.kimkiduk.com), which includes my harsh criticism about his films, and I read his past interviews. There were 21 interviews and 37 reviews about his new film Bad Guy. I printed 184 articles written by his fans and harsh opponents and read them randomly.