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Digital Intermediary: Korean Transnational Cinema, Brian Yecies, Ben Goldsmith, Ae-Gyung Shim
Digital Intermediary: Korean Transnational Cinema, Brian Yecies, Ben Goldsmith, Ae-Gyung Shim
Brian Yecies
Since censorship was lifted in Korea in 1996, collaboration between Korean andforeign filmmakers has grown in both extent and visibility. Korean films have beenshot in Australia, New Zealand and mainland China, while the Korean digital postproductionand visual effects firms behind blockbusters infused with local effectshave gone on to work with filmmakers from greater China and Hollywood. Koreancinema has become known for its universal storylines, genre experimentation andhigh production values. The number of exported Korean films has increased, ashas the number of Korean actors starring in films made in other countries. Koreahas hosted major international industry events. These milestones have facilitated …
Somewhere Between Anti-Heroism And Pantomime: Song Kang-Ho And The Uncanny Face Of The Korean Cinema, Brian Yecies
Somewhere Between Anti-Heroism And Pantomime: Song Kang-Ho And The Uncanny Face Of The Korean Cinema, Brian Yecies
Brian Yecies
This article explores the trajectory of Song Kang-ho’s on-screen performances from the release of his fourth film, Number 3 (1997), to one of his most recent films, Thirst (2009). As a case study, it reveals new insights about this popular and representative actor’s numerous screen personae and how they have enabled audiences to peer into a cinematic surface that reflects back a mixture of anti-heroism and pantomime. Beneath the many costumes and performance styles he adopts, audiences have come to see a human being with everyday problems and concerns. In a way reminiscent of the French pantomime clown Pierrot, Song’s …
In Search Of The Korean Digital Wave, Brian Yecies, Ben Goldsmith, Kwang-Suk Lee
In Search Of The Korean Digital Wave, Brian Yecies, Ben Goldsmith, Kwang-Suk Lee
Brian Yecies
This article sets the context for this special themed issue on the `Korean digitalwave by considering the symbiotic relationship between digital technologies, theirtechniques and practices, their uses and the affordances they provide, and Korea`compressed modernity and swift industrialisation. It underscores the importanceof interrogating a range of groundbreaking developments and innovations withinKorea digital mediascapes, and its creative and cultural industries, in order togain a complex understanding of one of Australia most significant export marketsand trading partners. Given the financial and political commitment in Australiato a high-speed broadband network that aims to stimulate economic and culturalactivity, recent technological developments in Korea, and …
Digital Intermediary: Korean Transnational Cinema, Brian Yecies, Ben Goldsmith, Ae-Gyung Shim
Digital Intermediary: Korean Transnational Cinema, Brian Yecies, Ben Goldsmith, Ae-Gyung Shim
Brian Yecies
Since censorship was lifted in Korea in 1996, collaboration between Korean andforeign filmmakers has grown in both extent and visibility. Korean films have beenshot in Australia, New Zealand and mainland China, while the Korean digital postproductionand visual effects firms behind blockbusters infused with local effectshave gone on to work with filmmakers from greater China and Hollywood. Koreancinema has become known for its universal storylines, genre experimentation andhigh production values. The number of exported Korean films has increased, ashas the number of Korean actors starring in films made in other countries. Koreahas hosted major international industry events. These milestones have facilitated …
Somewhere Between Anti-Heroism And Pantomime: Song Kang-Ho And The Uncanny Face Of The Korean Cinema, Brian Yecies
Somewhere Between Anti-Heroism And Pantomime: Song Kang-Ho And The Uncanny Face Of The Korean Cinema, Brian Yecies
Brian Yecies
This article explores the trajectory of Song Kang-ho’s on-screen performances from the release of his fourth film, Number 3 (1997), to one of his most recent films, Thirst (2009). As a case study, it reveals new insights about this popular and representative actor’s numerous screen personae and how they have enabled audiences to peer into a cinematic surface that reflects back a mixture of anti-heroism and pantomime. Beneath the many costumes and performance styles he adopts, audiences have come to see a human being with everyday problems and concerns. In a way reminiscent of the French pantomime clown Pierrot, Song’s …