Journal of Japanese and Korean Cinema最新文献_第3页

Romantic blockbusters: the co-commissioning of Korean network-developed K-dramas as ‘Netflix originals’ 浪漫大片：韩国网络的联合委托将韩国电视剧开发为“Netflix原创”

Journal of Japanese and Korean Cinema Pub Date : 2022-07-03 DOI: 10.1080/17564905.2022.2120341

Hyun Jung Stephany Noh

{"title":"Romantic blockbusters: the co-commissioning of Korean network-developed K-dramas as ‘Netflix originals’","authors":"Hyun Jung Stephany Noh","doi":"10.1080/17564905.2022.2120341","DOIUrl":"https://doi.org/10.1080/17564905.2022.2120341","url":null,"abstract":"ABSTRACT Since Netflix started offering its multinational service in South Korea in 2016, the company’s main strategy has been to enter into partnerships with local legacy networks in the form of co-commissions and offer locally developed K-dramas as ‘Netflix Originals’. In this paper, I analyse the industrial changes that led to the Korean cable channel tvN and Netflix co-commissioning television series, focusing in particular on Mr. Sunshine (Miseuteo syeonsyain, 2018) and Crash Landing on You (Sarangui bulsichak, 2019-2020) as the culmination of the many successful K-dramas developed through this partnership. Renowned internationally for productions in the romance genre, K-drama has evolved rapidly since the enormous success of Winter Sonata (Gyeoul yeonga, 2004), the series that initiated the Korean Wave in Japan. These programs continue the decades-long lineage of romance-themed K-dramas by terrestrial broadcasters while offering enhanced production values made possible by infusions of capital from Netflix, which have fuelled the evolution of K-dramas into what I have termed ‘romantic blockbusters.’ I examine the triadic relationship among the key stakeholders—the local networks, the local production companies, and Netflix—to trace the development of local network-developed K-dramas into internationally circulating Netflix Originals.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"14 1","pages":"98 - 113"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48292260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

Multimedia auteurism in early television documentary: Japan Unmasked and Non-Fiction Theatre 早期电视纪录片中的多媒体导演主义:日本的非虚构剧场

Journal of Japanese and Korean Cinema Pub Date : 2022-03-21 DOI: 10.1080/17564905.2022.2054087

Y. Kaminishi

{"title":"Multimedia auteurism in early television documentary: Japan Unmasked and Non-Fiction Theatre","authors":"Y. Kaminishi","doi":"10.1080/17564905.2022.2054087","DOIUrl":"https://doi.org/10.1080/17564905.2022.2054087","url":null,"abstract":"ABSTRACT With the rise of television in late 1950s and 1960s Japan, television documentary became the focus of multiple debates as a fledgling genre. This article examines two television documentary series, Japan Unmasked (Nihon no sugao) and Non-Fiction Theatre (Non-fikushon gekijō), and the discourse surrounding them, particularly the Japan Unmasked debate. In the debate, Hani Susumu emphasized that the political significance of television documentary lies in amateurs’ attempts to capture their experiences using the unfamiliar camera and microphone. This emphasis on amateurism, however, involved problems: the growth of amateurs into professionals and their loss of an autonomous position within the corporate structure. Calling upon the legacy of left-wing political avant-garde work, Ushiyama Jun’ichi, the father of Non-Fiction Theatre, responded to the issue by inviting filmmakers with political voices such as Ōshima Nagisa to television documentary. The debates, from amateurism in Japan Unmasked to auteurism in Non-Fiction Theatre, sought the political possibility of television documentary as a changing force on people’s views towards the everyday world. This article argues that the resulting implementation of multimedia auteurism, television documentary made by a political auteur, was integral to continuing audio-visual experimentation in the new-born genre, which was in danger of being lost in the development of the television industry.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"14 1","pages":"164 - 179"},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43338665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

‘Cine-Gwangju’: envisioning the Gwangju uprising in South Korean film and culture “电影光州”:在韩国电影和文化中展望光州起义

Journal of Japanese and Korean Cinema Pub Date : 2022-01-02 DOI: 10.1080/17564905.2022.2070821

H. Park

引用次数: 0

Memories of the demos and popular Korean moving image narrative 记忆的演示和流行的韩国动态影像叙事

Journal of Japanese and Korean Cinema Pub Date : 2022-01-02 DOI: 10.1080/17564905.2022.2063681

Steve Choe

引用次数: 1

Image Romanticism and Yakuza Cinema 形象浪漫主义与黑帮电影

Journal of Japanese and Korean Cinema Pub Date : 2022-01-02 DOI: 10.1080/17564905.2022.2054084

Philip Kaffen

{"title":"Image Romanticism and Yakuza Cinema","authors":"Philip Kaffen","doi":"10.1080/17564905.2022.2054084","DOIUrl":"https://doi.org/10.1080/17564905.2022.2054084","url":null,"abstract":"ABSTRACT Image Romanticism and Yakuza Cinema aims to do two things. One is to give a clear and readable introduction to ninkyō yakuza films as a genre, rerouting some of the more standard culturalist interpretations by focusing instead on questions of industry, medium, and image. The second is to situate that genre within a theoretical, historical, and political field I term ‘image romanticism.’ In particular, I draw attention to three elements that tie these two different orientations together: reciprocity of the face and gaze; ironic iconoclasm; and the abyss beyond words at the heart of cinematic experience. These foci help highlight concerns around genre, violence, beauty, sexuality, cinephilia, anti-modernism, and imperial history. The desire to liberate images from all external structuring forces at work – especially linguistic and discursive attempts to ground the images in something besides their own force – is at the heart of these films. In this, yakuza films become a site where the image of the outlaw becomes the image as the outlaw. The films thus function as crucial place for renegotiating relationships to technical images when the ground of cinema was shifting and increasingly uncertain.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"14 1","pages":"68 - 86"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43858501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Independent filmmaking across borders in contemporary Asia 当代亚洲的跨国界独立电影制作

Journal of Japanese and Korean Cinema Pub Date : 2022-01-02 DOI: 10.1080/17564905.2022.2063226

Zoe Meng Jiang

引用次数: 4

Archive, digital technology, and the inheritance of the Gwangju Uprising: the affect of the post-Gwangju generation of directors in Kim-gun (2019) and Round and Around (2020) 档案、数字技术和光州起义的传承——《金郡》(2019)和《一圈一圈》(2020)中后光州一代导演的影响

Journal of Japanese and Korean Cinema Pub Date : 2022-01-02 DOI: 10.1080/17564905.2022.2065168

Hyeyoung Cho

{"title":"Archive, digital technology, and the inheritance of the Gwangju Uprising: the affect of the post-Gwangju generation of directors in Kim-gun (2019) and Round and Around (2020)","authors":"Hyeyoung Cho","doi":"10.1080/17564905.2022.2065168","DOIUrl":"https://doi.org/10.1080/17564905.2022.2065168","url":null,"abstract":"ABSTRACT This essay explores two recent documentaries on the Gwangju Uprising: Kang Sang-woo’s Kim-gun (Gim-gun, 2019) and Jang Min-seung’s Round and Around (Dunggeulgo dunggeulge, 2020). The Gwangju Uprising was a pro-democracy uprising that occurred in Gwangju, South Korea in 1980. In response to the uprising, the South Korean government ordered police and soldiers to massacre Gwangju civilians. Kim-gun sets out in search of the identity of a young man stationed in front of a truck-mounted machine gun in a photograph taken during the uprising. Round and Around, commissioned by the Korean Film Archive, is an audio-visual experimental project that was produced in 2020 to commemorate the 40th anniversary of the uprising. In this essay, I demonstrate that documentary directors Kang and Jang – who belong to the post-Gwangju generation and did not participate in, witness, or live through the uprising either directly or indirectly – find a way to reconnect with and inherit the historical memory of the uprising and bring the past to the present by appealing to affect and the senses rather than simply recounting historical facts and explicating the significance of the uprising.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"14 1","pages":"49 - 67"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45264300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Global solidarity between Gwangju and Buenos Aires: Good Light, Good Air (2021) 光州和布宜诺斯艾利斯之间的全球团结：光线好，空气好（2021）

Journal of Japanese and Korean Cinema Pub Date : 2022-01-02 DOI: 10.1080/17564905.2022.2064163

Seung-woo Ha

引用次数: 0

Gwangju and the 1980s film movement: the representation of the minjung in Oh! My Dream Country 光州与20世纪80年代的电影运动——《哦!》我的梦想国度

Journal of Japanese and Korean Cinema Pub Date : 2022-01-02 DOI: 10.1080/17564905.2022.2064039

Yun-Jong Lee

{"title":"Gwangju and the 1980s film movement: the representation of the minjung in Oh! My Dream Country","authors":"Yun-Jong Lee","doi":"10.1080/17564905.2022.2064039","DOIUrl":"https://doi.org/10.1080/17564905.2022.2064039","url":null,"abstract":"ABSTRACT\u0000 This article explores early cinematic representations of the Gwangju Uprising in the films The Announcement of Mr. Kant (1987, Kim Tae-yeong), Hwangmuji (1988, Kim Tae-yeong), and Oh! My Dream Country (1989, Jangsan-gotmae), with particular attention paid to the final film. These three 16 mm fiction works are all ‘independent films’ made within the context of the emancipator activism of the minjung movement in the 1980s South Korea. This study demonstrates how these three films can be categorized as so called ‘minjung films’ that refer to the ‘independent’ works devoted to the ‘independence’ of the people from the authoritarian South Korean state and the political interference of the United States. I also analyse how Oh! My Dream Country is particularly representative of minjung cinema when considering the collaborative mode in which it was produced and its treatment of the Gwangju Uprising as a pro-democracy struggle. Finally, through a textual analysis of Oh! My Dream Country, I reassess the historical significances of these three early Gwangju films through the lens of gender. I discuss how the minjung, particularly in Gwangju, were problematically feminized as collective victims in the 1980s by the discourse of anti-American nationalism, which was primarily constructed by male intellectuals.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"14 1","pages":"21 - 35"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43220218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The films of Kore-eda Hirokazu: an elemental cinema 是枝裕和的电影:元素电影

Journal of Japanese and Korean Cinema Pub Date : 2021-07-03 DOI: 10.1080/17564905.2021.1980321

D. Breeze

引用次数: 2