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Examining The Chinese-Australian Post-Production Relationship Through Chinese Audiences' Cinema Experience, Kai Ruo Soh
Examining The Chinese-Australian Post-Production Relationship Through Chinese Audiences' Cinema Experience, Kai Ruo Soh
Faculty of Law, Humanities and the Arts - Papers (Archive)
No abstract provided.
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 …
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 …
Chinese Transnational Cinema And The Collaborative Tilt Toward South Korea, Brian Yecies
Chinese Transnational Cinema And The Collaborative Tilt Toward South Korea, Brian Yecies
Faculty of Law, Humanities and the Arts - Papers (Archive)
To shed light on the important and growing trend in international filmmaking, this chapter investigates the increasing levels of co-operation in co-productions and post-production work between China and Korea since the mid-2000s, following a surge in personnel exchange and technological transfer. It explains how a range of international relationships and industry connections is contributing to a new ecology of expertise, which in turn is boosting the expansion of China’s domestic market and synergistically transforming the shape and style of Chinese cinema.
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 …
Cinema Of Actuality: Japanese Avant-Garde Filmmaking In The Season Of Image Politics By Yuriko Furuhata (Review), Michael Leggett
Cinema Of Actuality: Japanese Avant-Garde Filmmaking In The Season Of Image Politics By Yuriko Furuhata (Review), Michael Leggett
Faculty of Law, Humanities and the Arts - Papers (Archive)
The Japanese word eizo is central to an understanding of the significance of the interventions made into the cultural life of the nation by a relatively small grouping of artists and writers working between the 1950s and 1970s. Traditionally used as a phenomenological term in science and philosophy, the character connoted shadow or silhouette, later shifting to signify optical processes. Like the Greek term tehkne, creativeness and the tools used to achieve the outcome are relative, nuanced and complex.
Medium-Specificity And Sociality In Expanded Cinema Re-Enactment, Lucas M. Ihlein
Medium-Specificity And Sociality In Expanded Cinema Re-Enactment, Lucas M. Ihlein
Faculty of Law, Humanities and the Arts - Papers (Archive)
In this short paper, I introduce the work of the artist group Teaching and Learning Cinema, which reenacts Expanded Cinema artworks from the 1960s and 70s. I make a connection between sociality (which binds together artists in collectives and screening "clubs") and the issue of mediumspecificity. Re-enacting Expanded Cinema, I suggest, gently probes at the intersection of mediumspecificity and sociality. This practice asks questions about the material qualities of film, video and performance, and the particular relations these media carry across time and culture.
Crossover Cinema: A Conceptual And Genealogical Overview, Sukhmani Khorana
Crossover Cinema: A Conceptual And Genealogical Overview, Sukhmani Khorana
Faculty of Law, Humanities and the Arts - Papers (Archive)
In this collection, the term crossover cinema is used to encapsulate an emerging form of cinema that crosses cultural borders at the stage of conceptualization and production and hence manifests a hybrid cinematic grammar at the textual level, as well as crossing over in terms of its distribution and reception. It argues for the importance of distinguishing between crossover cinema and transnational cinema. While the latter label has been important in enabling the recognition and consideration of the impact of post–World War II migration and globalization on film practice and scholarship, and while it constituted a significant advance on the …
"It Was Filmed In My Home Town": Diasporic Audiences And Foreign Locations In Indian Popular Cinema, Andrew Hassam
"It Was Filmed In My Home Town": Diasporic Audiences And Foreign Locations In Indian Popular Cinema, Andrew Hassam
Faculty of Law, Humanities and the Arts - Papers (Archive)
The defining feature of Hindi cinema for commentators in the West is the 'interruption' of the narrative, as Gopalan (2002) terms it, by the visualization of songs through dance. Headlines such as 'India's New Cinema has a Global Script' (Pfanner 2006) have, for the past decade, been proclaiming the birth of a globalized Bollywood, but the Bollywood that is 'globalizing' the UK and North America is the Bollywood culture industry of transcultural bhangra, dance fitness classes, and the celebrity world of Aishwarya Rai rather than Hindi cinema, notwithstanding the Oscar nomination of Lagaan (2001) for Best Foreign Language Film in …
Photography, Cinema And Time In Jane Campion's The Piano And Gail Jones' Sixty Lights, Sukhmani Khorana
Photography, Cinema And Time In Jane Campion's The Piano And Gail Jones' Sixty Lights, Sukhmani Khorana
Faculty of Law, Humanities and the Arts - Papers (Archive)
Using the logic of the absence-presence of light (through mimicking shadows and remnant ghosts) in the images/time-images of Gail Jones’ Sixty Lights and Jane Campion’s The Piano, this paper attempts to frame time such that the over-exposed past becomes the blank page of the future. I propose that history, when viewed in the light of the present, enables a truly open future for female and postcolonial subjects. It is important, therefore, to think of the blank page emerging from the over-exposed image not as symbolic of a psychoanalytic lack of the phallus, but as an open response in the wake …