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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 …
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.
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.
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.