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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 …
Korea's Occupied Cinemas, 1893-1948, Brian Yecies, Ae-Gyung Shim
Korea's Occupied Cinemas, 1893-1948, Brian Yecies, Ae-Gyung Shim
Brian Yecies
Korea’s Occupied Cinemas, 1893-1948 compares and contrasts the development of cinema in Korea during the Japanese occupation (1910-1945) and US Army Military (1945-1948) periods within the larger context of cinemas in occupied territories. It differs from previous studies by drawing links between the arrival in Korea of modern technology and ideas, and the cultural, political and social environment, as it follows the development of exhibition, film policy, and filmmaking from 1893 to 1948. During this time, Korean filmmakers seized every opportunity to learn production techniques and practice their skills, contributing to the growth of a national cinema despite the conditions …
Book Review Of James, D & Kim, K.H (Eds) Im Kwon-Taek: The Making Of A Korean National Cinema, Brian Yecies
Book Review Of James, D & Kim, K.H (Eds) Im Kwon-Taek: The Making Of A Korean National Cinema, Brian Yecies
Brian Yecies
No abstract provided.
Inroads For Cultural Traffic: Breeding Korea’S Cinematiger, Brian Yecies
Inroads For Cultural Traffic: Breeding Korea’S Cinematiger, Brian Yecies
Brian Yecies
The Golden Age of Hallyuwood – the fusion of Hallyu and Hollywood – facilitated and was facilitated by new spaces for creative and cultural expression. Domestic market share of local films, lucrative pre-sales, a robust screen quota and fresh genre-bending narratives and styles reached a peak of acclaim at home and abroad in 2005. This period of success was notably inspired internally after the establishment of a civilian government in 1993 and the subsequent elimination of censorship in 1996. However, external pressures involved in the (re)opening of Korea to Hollywood in the mid-1980s also had an impact on the rise …
Strategies For Sharing The Remote: Changing The Nature Of Online Collaboration, Brian Yecies, Richard Caladine
Strategies For Sharing The Remote: Changing The Nature Of Online Collaboration, Brian Yecies, Richard Caladine
Brian Yecies
Online learning or e-learning has had an impact on the way many institutions around the world provide opportunities for learning. For the past five years, the University of Wollongong, like many others, has taken a blended approach to online learning. Blended learning combines face-to-face and online learning. In the online component, learners interact with Web pages and online resources under the umbrella of a course management system (CMS). While the CMS has been highly successful, there are some online teaching and learning functions that could not be easily undertaken. These involve group work, and it was believed that an online …
Sejong Park's 'Birthday Boy' And Korean-Australian Encounters, Ben Goldsmith, Brian Yecies
Sejong Park's 'Birthday Boy' And Korean-Australian Encounters, Ben Goldsmith, Brian Yecies
Brian Yecies
This chapter focuses on some of the flows of film work between Australia and South Korea, and some of the roles taken by Australians in the performance (and particularly the sound) of Koreanness in different film contexts. We will explore Korean-Australian collaboration on film, through case studies of Sejong Park's Oscar-nominated short animated film Birthday Boy (2004) and two Korean feature films Musa (2001, Kim Sung-su Kim) and Shadowless Sword (2005, Kim Young-jun Kim) for which Australian firms provided sound post-production services. We are interested in how these films instanciate and expand Korean, Australian, diasporic and transnational filmmaking.
The Coming Of Sound To Cinema In Colonial Korea, 1926-39, Brian Yecies
The Coming Of Sound To Cinema In Colonial Korea, 1926-39, Brian Yecies
Brian Yecies
No abstract provided.
Traces Of Korean Cinema From 1945-1959, Brian Yecies
Traces Of Korean Cinema From 1945-1959, Brian Yecies
Brian Yecies
The first in a planned series of books about Korean film history, published in bilingual editions by the Korean Film Archive (KOFA). This particular edition contains essays on Korean film history focused on the period between Korea's liberation from Japan and the end of the 1950s. Articles within are written by KOFA President Yi Hyo-in and researcher Chung Chong Hwa. A large number of reproductions of period film stills and posters are also included. The original Korean articles as well as translated versions by Shim Ae Gyung are included together in this volume.
Feature Film And Tv Production In Australia: A Look At The Current Industry In 2004, Brian Yecies
Feature Film And Tv Production In Australia: A Look At The Current Industry In 2004, Brian Yecies
Brian Yecies
No abstract provided.