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Full-Text Articles in Social and Behavioral Sciences
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
Dr Brian Yecies
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.
Parleying Culture Against Trade: Hollywood’S Affairs With Korea’S Screen Quotas, Brian M. Yecies
Parleying Culture Against Trade: Hollywood’S Affairs With Korea’S Screen Quotas, Brian M. Yecies
Dr Brian Yecies
The rising Korean cinema has inspired a flurry of new understandings of the nation’s media and cultural policies. However, there remains a gap in the historical factors leading to this phenomenon, regarding particularly Hollywood’s long-term negotiations with import and screen quotas. This study charts Hollywood’s export activities in Korea and analyzes differences between the US economic approach to film as ‘goods’ and Korean view of films as ‘cultural expressions’. The Korean government’s perseverance to safeguard film as cultural heritage and its ability to stand-up against relentless trade pressures from the US have led to the contemporary Korean cinema’s tangible success. …
Book Review Of: Tracking King Kong: A Hollywood Icon In World Culture, Brian M. Yecies
Book Review Of: Tracking King Kong: A Hollywood Icon In World Culture, Brian M. Yecies
Dr Brian Yecies
No abstract provided.
Disney Through The Web Looking Glass, Brian Martin, Brian M. Yecies
Disney Through The Web Looking Glass, Brian Martin, Brian M. Yecies
Dr Brian Yecies
For critics of the Disney Corporation, the World Wide Web is a convenient medium for providing information and expressing concern. The majority of anti–Disney Web sites are run by either Christian or labour rights organisations as utilitarian adjuncts to offline campaigns. In contrast are a number of idiosyncratic individual anti–Disney sites that provide links to criticism from a variety of perspectives. The Web appears to facilitate this type of cross–issue critique. On the other hand, some forms of opposition to Disney, such as by employees and corporate competitors, are largely absent from the Web. Assessing challenges to a corporation by …
Book Review Of: Sound Technology And The American Cinema, Brian M. Yecies
Book Review Of: Sound Technology And The American Cinema, Brian M. Yecies
Dr Brian Yecies
Sound technology and the American cinema makes an exciting contribution to the fields of film history, film theory, and cultural studies. It offers an in-depth, multi-sourced study of the development of representational technologies, including photography, phonography, and the cinema; each had a convergent role in the permanent adoption of sound into the Hollywood film industry. James Lastra intrigues the reader by constructing a technological genealogy, which connects the ideas and sensibilities of an American culture on the brink of modernity. In doing so, he brings to life a material history of this century's "most influential audiovisual form-the classical Hollywood sound …
Planet Hallyuwood's Political Vulnerabilities: Censuring The Expression Of Satire In The President's Last Bang (2005), Brian M. Yecies
Planet Hallyuwood's Political Vulnerabilities: Censuring The Expression Of Satire In The President's Last Bang (2005), Brian M. Yecies
Dr Brian Yecies
South Korea's cinema has recently enjoyed a Golden Age that has opened up new spaces for creative and cultural expression in Korea and probably in the larger Asia-Pacific region. Domestic market share of local films, lucrative pre-sales, a robust screen quota and fresh genre-bending narratives and styles have attracted admiration in Korea and abroad. However, since its peak of success in late 2005 and early 2006, extreme competition between domestic films, piracy and illegal downloading, halving of the screen quota and the erosion of ancillary markets have impacted on the industry's ability to sustain vitality and profitability. Among the challenges …
Transformative Soundscapes: Innovating De Forest Phonofilms Talkies In Australia, Brian M. Yecies
Transformative Soundscapes: Innovating De Forest Phonofilms Talkies In Australia, Brian M. Yecies
Dr Brian Yecies
The coming of sound to cinemas around the world traditionally has been included in the writings about great men and all-powerful companies and how their visions and integrated industry connections helped them maintain a dominating monopoly of the motion picture industry. Important and canonical reports of these business histories have been documented and offered by Tino Balio (1976; 1985; 1993), David Bordwell, Janet Staiger, and Kristin Thompson (1985), Douglas Gomery (1986), Thomas Schatz (1988), John Belton (1994), Robert Sklar (1994), Donald Crafton (1997) and Ruth Vasey (1997) in the US and by Sally Stockbridge (1979), Susan Dermody (1981), John Tulloch …
Double Take On Vengeance: Journey Through The Syncopic Editing Style Of Sympathy For Mr. Vengeance, Brian M. Yecies, D. Chambers
Double Take On Vengeance: Journey Through The Syncopic Editing Style Of Sympathy For Mr. Vengeance, Brian M. Yecies, D. Chambers
Dr Brian Yecies
For foreigners who did not grow up speaking the Korean language, filmic images in contemporary Korean cinema texts speak louder than words. Visiting the “land of morning calm” in person and floating on the surface of Korean society has inspired us to gain a deeper understanding of these images and their puzzling place in Korean culture. Truly experiencing the Korean cinema revolves around heart-felt journeys into solving some of these puzzles. We have begun another sojourn with this reading of the editing style in Park Chan-wook’s Sympathy for Mr. Vengeance (2002).
Lost Memories Of Korean Cinema: Film Policies During Japanese Colonial Rule, 1919-1937, Brian M. Yecies, Ae-Gyung Shim
Lost Memories Of Korean Cinema: Film Policies During Japanese Colonial Rule, 1919-1937, Brian M. Yecies, Ae-Gyung Shim
Dr Brian Yecies
This article analyzes the development and enforcement of film policy and censorship regulations in colonial Korea and draws attention to their impact on the production and exhibition market of Korean cinema. The period between 1919 and 1937 is chosen for this study because it marks the release of the first Korean kino-drama film project, includes Korea’s boom of silent filmmaking and the expansion of Hollywood and Japanese distribution exchanges in Seoul, and leads to the eventual tightening of Japanese censorship by state police. This period is generally known as the ascent of Japan’s imperialistic policies. Given Japan’s occupation of Korea …
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
Dr Brian Yecies
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 …
Film Censorship As A Good Business In Colonial Korea: Profiteering From Hollywood's First Golden Age, 1926-36, Brian M. Yecies
Film Censorship As A Good Business In Colonial Korea: Profiteering From Hollywood's First Golden Age, 1926-36, Brian M. Yecies
Dr Brian Yecies
Between 1926 and 1936, cinema in colonial Korea was a vibrant business, involving the production of domestic films and the distribution and exhibition of American, British, Chinese, French, German, Italian, and Russian films. During this decade, the first golden age of American cinema in Korea, Hollywood films overwhelmingly dominated the Korean market. Korea was an important territory that Hollywood used in its overall global expansion campaign. Amid this globalization operation, the Government-General of Chosen’s film censorship apparatus was a financially self-sustaining operation. It paid for its operation by profiteering from the application of more than 6,700 American and 630 other …
Failures And Successes: Local And National Australian Sound Innovations, 1924-1929, Brian M. Yecies
Failures And Successes: Local And National Australian Sound Innovations, 1924-1929, Brian M. Yecies
Dr Brian Yecies
This article aims to expand our knowledge of the success or failure of sound technologies in the Australian exhibition market in the years between 1924 and 1929. Crucial to this issue are the complex relations between previously unrecognised groups and individuals involved in promotion of sound technology and in the wiring of Australian cinemas. The process by which all 1,420 of Australia's cinemas were finally wired for sound by 1937[1], was not one in which an American monopoly had demonstrated unchecked power over a passive Australian market. There were a large number of national and international contributors to this process …
Book Review Of: Newmedia.Com.Au, Brian M. Yecies
Book Review Of: Newmedia.Com.Au, Brian M. Yecies
Dr Brian Yecies
No abstract provided.
Film Policy And The Coming Of Sound To Cinema In Colonial Korea, Brian M. Yecies
Film Policy And The Coming Of Sound To Cinema In Colonial Korea, Brian M. Yecies
Dr Brian Yecies
During the transition between silent and sound cinema in Korea (1929-1939), Japanese colonial film policies established stringent market barriers for local Hollywood distribution exchanges and simultaneously increased opportunities for domestic Korean and Japanese film productions. The Government-General of Korea enacted regulatory initiatives, including film censorship, as part of Japan's larger imperial agenda aimed at strengthening and expanding its Empire. In turn, the domestic film industry in Korea was invigorated and modernized by a number of Korean film people (younghwa-in) who gained valuable experience and training while travelling back and forth between Korea and Japan. Korean film pioneers innovated local solutions …
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
Dr Brian Yecies
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 …
Cultural Flows Beneath Death Note: Catching The Wave Of Popular Japanese Culture In China, Peter Goderie, Brian M. Yecies
Cultural Flows Beneath Death Note: Catching The Wave Of Popular Japanese Culture In China, Peter Goderie, Brian M. Yecies
Dr Brian Yecies
The government of the People’s Republic of China has often been criticized for its policies regarding freedom of expression. Cinema in China has been central to this criticism, particularly with respect to the distribution of foreign films. This article uses a case study of the Japanese film Death Note (Kaneko Shūsuke, 2006) to advance current understanding of Chinese cinema found in important studies such as Chu (2002), Zhang (2004) and Berry and Farquhar (2006). To better understand the controversy surrounding Death Note in the Chinese context, this article explores the historical precursors to the Chinese Communist Party’s ban on horror …
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
Dr Brian Yecies
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, …
What The Boomerang Misses: Pursuing International Film Co-Production Treaties And Strategies, Brian M. Yecies
What The Boomerang Misses: Pursuing International Film Co-Production Treaties And Strategies, Brian M. Yecies
Dr Brian Yecies
This refereed paper illustrates some of the dynamic ways that members of the Korean, Australian, New Zealand and Chinese creative and cultural industries have engaged with international instruments such as co-production treaties. Strategies, benefits returned and lost costs, that is, sacrifices that are made in the process of producing a film or digital media program in more than one country, and/or with an international team are investigated to reveal how creators are engaging with the demands of different governments' policies. It is hoped that this paper and the larger research project to which it is attached will assist scholars, creative …
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
Dr Brian Yecies
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 …
Disarming Japan’S Cannons With Hollywood’S Cameras: Cinema In Korea Under U.S. Occupation, 1945-1948, Brian M. Yecies, Ae-Gyung Shim
Disarming Japan’S Cannons With Hollywood’S Cameras: Cinema In Korea Under U.S. Occupation, 1945-1948, Brian M. Yecies, Ae-Gyung Shim
Dr Brian Yecies
Reorienting the southern half of the Korean Peninsula away from the former Japanese colonial government's anti-democratic, anti-American and militaristic ideology while establishing orderly government was among the goals of the U.S. Army Military Government in Korea (USAMGIK, 1945-1948). To help achieve this aim on a wide front and as quickly as possible, USAMGIK’s Motion Picture Section in the Department of Public Information arranged the exhibition of hundreds of Hollywood films to promote themes of democracy, capitalism, gender equality and popular American culture and values. While U.S. troops in the field enjoyed the increased availability and calibre of American feature films, …
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
Dr Brian Yecies
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 …