Journal of Japanese and Korean Cinema最新文献

{"title":"Visualizing (im)mobility in post-reversion Okinawa: a comparative study of NDU’s Asia Is One (1973) and Chinen Seishin’s The Human Pavilion (1976)","authors":"Patrick Chimenti","doi":"10.1080/17564905.2021.1978828","DOIUrl":"https://doi.org/10.1080/17564905.2021.1978828","url":null,"abstract":"ABSTRACT This article compares two influential visual media works produced in post-reversion Okinawa: the film Asia Is One (1973), produced by Nihon Documentarist Union (NDU), and Chinen Seishin’s experimental play The Human Pavilion (1976). The performative deconstruction of Okinawan regional identity in these works reflects the emergence of (im)mobility as a critical concept for approaching Japanese ethnonational discourse and its mediated enactments during this period. Asia Is One employs a complex spatio-temporal mapping of Okinawa’s diverse historical networks of labour and cultural exchange to challenge visions of ambivalent synchronicity between Okinawa and the mainland advanced within the event of reversion. The Human Pavilion challenges structures of spectatorship developed in the 1975 Ocean Expo to demonstrate the limitations of visualizing ethnocultural particularity, gesturing to a pervasive and self-perpetuating silence integral to the production of ‘Okinawa’ as an ethnographic object. Reading these works in the context of post-reversion media ecologies offers a sense of the complex negotiation of Okinawan identity that developed in the Ocean Expo and the reversion, events that exposed and reproduced transhistorical legacies of (im)mobility in Okinawa.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"118 - 137"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48940320","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}

{"title":"Female warrior imagery in the North Korean film A Partisan Maiden (1954) and the Soviet film Zoya (1944)","authors":"J. Jun","doi":"10.1080/17564905.2021.1968762","DOIUrl":"https://doi.org/10.1080/17564905.2021.1968762","url":null,"abstract":"ABSTRACT This paper analyzes the creation of the female partisan mythos during and after WWII and the Korean War through a discussion of the Soviet film Zoya (dir. Lev Arnshtam, 1944), which is set against the backdrop of the German-Russian conflict on the Eastern Front, and the North Korean film A Partisan Maiden (Ppalchisan cheonyeo, dir. Yun Yong-gyu, 1954), which tells the story of heroic women who battle against barbaric American troops during the Korean War. The films Zoya and A Partisan Maiden dramatize the life and death of two historic female partisans whose images were resurrected to serve as propaganda for the authoritarian regimes under which they lived. The popularization of Zoya’s story in the Soviet Union became a reference point for North Korean filmmakers and storytellers, who borrowed strategies from the Soviet example when constructing images of North Korean partisan Jo Ok-hui. By analyzing these historical contingencies, this paper explores how the mythos of the female partisan was formed and propagated in post-war Soviet and North Korean cinema.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"172 - 187"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49340032","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}

{"title":"Vicious Circuits: Korea’s IMF Cinema and the End of the American Century","authors":"H. Lee","doi":"10.1080/17564905.2021.1972711","DOIUrl":"https://doi.org/10.1080/17564905.2021.1972711","url":null,"abstract":"","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"191 - 195"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48820787","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}

{"title":"Re-emerging voices and re-imagined landscapes: an interview with Chikako Yamashiro","authors":"R. Ma, Kosuke Fujiki, translated by Christopher M. Cabrera","doi":"10.1080/17564905.2021.1985357","DOIUrl":"https://doi.org/10.1080/17564905.2021.1985357","url":null,"abstract":"ABSTRACT In this interview, the Okinawa-born filmmaker/artist Chikako Yamashiro looks back at the artistic trajectories and creative processes of her representative moving-image works since the 2000s, which have transitioned from videos of performance art to short experimental documentaries and fictions. In her work, Yamashiro foregrounds the methodology of using the body and voice as a medium to reconsider the politics of remembering vis-à-vis the Battle of Okinawa. Also, reflecting on the intermedial connections between video art and cinema, the artist shares how her recent short films have connected with the socio-ecological problems that Okinawa is aesthetically and affectively entangled with today.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"138 - 154"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41465659","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}

{"title":"The rise of K-dramas: essays on Korean television and its global consumption","authors":"Lindsay Schaffer","doi":"10.1080/17564905.2021.1973186","DOIUrl":"https://doi.org/10.1080/17564905.2021.1973186","url":null,"abstract":"","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"196 - 198"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43301357","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}

{"title":"The Living Sea: Okinawa, 1958 and the postwar media Dispositif","authors":"Takuya Tsunoda","doi":"10.1080/17564905.2021.2000291","DOIUrl":"https://doi.org/10.1080/17564905.2021.2000291","url":null,"abstract":"ABSTRACT This essay focuses on Hani Susumu's The Living Sea (1958), a short film that depicts the story of a group of Okinawan boys who win a study trip to Tokyo as a prize. While the educational short is charged with an expansionist perspective that supposedly reinforces a hegemonic mainland imaginary of post-occupation Japan, the film rather points toward the heterogeneous topography of Okinawa and the process of its mediation. The essay examines The Living Sea from the perspectives of a genealogy of the so-called audio-visual education movement in Japan, the film's techno-infrastructural intersections with an emerging colour broadcasting system, and the development of postwar aquariums. This study also draws upon Hani's deep involvement with the so-called ‘montage debate’ in the late 1950s in an attempt to highlight the importance of film form and its political implications, in particular a set of distinctive representational syntaxes and shot compositions. The purpose of this essay is less about exploring problematic representations of Okinawa per se but rather about identifying the shifting positions of Okinawa and the geopolitical functioning of power by analysing the way in which cinema serves as a historically-marked media environment for the viewer's socio-technical life.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"99 - 117"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45676072","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}

{"title":"In/visibility in post-war Okinawan images 2","authors":"Kosuke Fujiki, R. Ma","doi":"10.1080/17564905.2021.2001143","DOIUrl":"https://doi.org/10.1080/17564905.2021.2001143","url":null,"abstract":"Following on from the spring issue, we are proud to present the second part of our special section on postwar images of Okinawa. This two-part special section comes at an apt time, for next year witnesses the fiftieth anniversary of the reversion of Okinawa to Japan. For Okinawans, the reversion was a massive historical event that marked the end of the US military’s twenty-seven-year occupation of the islands since the end of the Pacific War. The transition of sovereignty had a significant impact on the islanders’ social life, from the change of currency to the switching of car lanes from the right to the left on 30 July 1978, which, not so surprisingly, resulted in a number of accidents. However, to the disappointment of many locals, the military bases stayed on the islands, in accordance with the treaty of mutual cooperation and security between the two countries. The barbed-wire fences of the bases are still a prominent feature of the Okinawan landscape, with approximately 15 percent of the main island still occupied by the US. The islanders’ antipathy, or at least ambivalence, toward the reversion and its consequences has often been swamped by the celebratory images of the exotic islands from mainland Japan. Thus, when viewing films and TV series set in Okinawa, or those featuring Okinawa as their topic, one needs to pay attention not only to what is being shown but also to what remains invisible, lurking in the margins of representation. Although the articles compiled here are not intended to draw a comprehensive picture of the complex power relations of Okinawa, Japan and the US as manifested in the cinematic representations of the islands, it is our hope that these articles, along with those in the first issue, throw critical light on the postwar visual history of Okinawa. Takuya Tsunoda’s article focuses on Japanese New Wave filmmaker Hani Susumu’s 1958 educational short film The Living Sea (Umi wa ikiteiru). Drawing on the concept of dispositif, Tsunoda strategically analyses the composition and decoupage of film images, as well as the reflexivity between the aquarium and film viewing situations. He demonstrates that Hani’s film, shot on Hateruma and Ishigaki Islands under the US military occupation, contributes to the knowledge construction of Japan’s periphery in the cultural infrastructure of postwar Japan, while avoiding a simplistic dichotomy of Okinawa versus mainland Japan. Moving from occupation to post-occupation, Patrick Chimenti examines media responses to the reversion in the leftist filmmaking group Nihon Documentarist Union’s documentary film Asia Is One (Ajia wa hitotsu, 1973) and Okinawan playwright Chinen Seishin’s stage production Human Pavilion (Jinruikan, 1976). Approaching the biopolitical regime in postwar Okinawa and in particular the post-reversion Okinawan identity,","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"97 - 98"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41454160","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}

{"title":"A man to remember: two film adaptations of Kokoro","authors":"Kenta Kato","doi":"10.1080/17564905.2021.1969614","DOIUrl":"https://doi.org/10.1080/17564905.2021.1969614","url":null,"abstract":"ABSTRACT This paper investigates two film adaptations of Kokoro, one by Ichikawa Kon in 1955 and the other by Shindō Kaneto in 1973, to uncover transformations of male bonding in different contexts. Responding to the new libidinal economy of the Meiji era, Sōseki’s novel envisions the heteronormative future while corporeal desire between men is relegated to the past. The Meiji reconfiguration of sexuality and male bonding is transcoded to the 1950s post-war period in Ichikawa’s version and the post-protest 1970s in Shindō’s adaptation. The 1955 Kokoro emasculates the male characters as passive subjects who can only obediently follow shifting conventions of masculinity. Ichikawa’s contribution is to expose how social pressure is enforced upon people whose desire to deviate from the norms needs to be kept in secrecy. On the other hand, the 1973 Kokoro contributes to the homosocial imagination of political activism as a lamentable loss through which firm bonding between men is formed whereas the marital union is denied. In the analyses of the film adaptations of Kokoro, a transformative quality of male bonding inevitably exposes what the patriarchal system latches onto shifts as the times change.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"155 - 171"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41483484","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}

{"title":"On the margins: action heroines in Coin-Locker Girl and The Villainess","authors":"Kelly Y. Jeong","doi":"10.1080/17564905.2021.1902618","DOIUrl":"https://doi.org/10.1080/17564905.2021.1902618","url":null,"abstract":"ABSTRACT In this paper, I examine Coin-Locker Girl (Chainataun, Han Jun-hee, 2015) and The Villainess (Aknyeo, Jung Byung-gil, 2017), two recent examples of women-centred action genre films through the key concepts of surveillance, usefulness and the Freudian concept of the uncanny, which structure the films’ plot and meaning. In both films, usefulness becomes the reason for the characters’ survival and makes one recognizably human, while being useless makes one a ghost and even leads to death. Both films also present mentors and quasi-parents, who constantly put the protagonists, who exist in the margins of society, under surveillance and demand proof of their usefulness. In response, the protagonists struggle to overcome their marginalized existence but they are thwarted by larger external forces, such as the network of spies or criminals that determine the conditions in and against which the protagonists must work to survive. Furthermore, I hope to also show that China, which the films imagine and visualize in particular ways, provides the context of the characters’ marginality. Cinema reflects reality – in this case, it reflects the reality of contemporary Korea’s marginalized female subjectivity that exists beyond the film screen.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"44 - 57"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2021.1902618","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41958603","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}

{"title":"The Elegant Beast: Kawashima Yūzō's modernist stage","authors":"L. Cromer","doi":"10.1080/17564905.2021.1917290","DOIUrl":"https://doi.org/10.1080/17564905.2021.1917290","url":null,"abstract":"ABSTRACT The Elegant Beast (Shitoyakana kedamono, 1962), is a post-war satire directed by Kawashima Yūzō (1818–1963) that aims criticism towards post-war modernity represented by a struggling middle-class family dealing with the transformation of Japanese urban life in the late 1950s and early ‘60s. This essay analyses the modernist cinematic aesthetics of the film and introduces the common themes of nihilism and a subversive tendency that Kawashima Yūzō persisted with since starting out with his programme picture comedy films. I contend that The Elegant Beast demonstrates Kawashima’s position as a leading precursor to the modernist cinema of the 1960s, for his engagement with associated themes of modernism such as nihilism, a subversive tendency in the Bakhtinian carnivalesque tradition, and a self-reflexivity. I further suggest that in The Elegant Beast, Kawashima explores the possibility of a theory of film through the practice of film.","PeriodicalId":37898,"journal":{"name":"Journal of Japanese and Korean Cinema","volume":"13 1","pages":"80 - 96"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17564905.2021.1917290","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46500650","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}