J-Horror and Kimchi Western: Mobile Genres in East Asian Cinemas
- 342 Downloads
Writings on East Asian cinemas, or non-Western cinemas in general, have tended to focus on the representation or contestation of the nation, and the negotiation between indigenous traditions and what were considered “modern” cinematic codes in the evolution of film art. Chinese cinema scholarship has produced a fascinating account of how these various positions are argued, debated, rethought and revised, particularly the controversy over the exact meaning of the “nation” and the “national” when applied to Chinese or any non-Western cinema in today’s globalized world (e.g. Zhang 2004; Berry and Farquhar 2006; Lu and Yeh 2005).1 In the early 1990s, the “New Korean cinema” came into being against a long history of political repression and state interference. This history, Julian Stringer (2005) notes, is also a narrative that “encompass[es] the experience of successive national traumas.” Beginning with the political democratization in 1992, the massive program of commercialization and globalization orchestrated by the state and large multinational corporations (chaebols in Korean) has given rise to the phenomenon of “record-breakers” or Korean blockbusters,2 a number of which have gained arthouse respectability.
KeywordsJapanese Version Horror Film Visual Style Creative Adaptation Large Multinational Corporation
Unable to display preview. Download preview PDF.
- Balmain, Colette (2008) Introduction to Japanese Horror Film, Edinburgh: Edinburgh University Press.Google Scholar
- Bordwell, David (2008), Poetics of Cinema, New York and London: Routledge.Google Scholar
- Berry, Chris (2003) “‘What’s Big About the Big Film?’: ‘De-Westernizing’ the Blockbuster in Korea and China,” in Julian Stringer (ed.), Movie Blockbusters, London: Routledge, 217–29.Google Scholar
- Berry, Chris and Mary Farquhar (2006) China on Screen: Cinema and Nation, Hong Kong: Hong Kong University Press.Google Scholar
- Bradshaw, Peter (2009) Review of The Good, the Bad and the Weird, The Guardian, February 9.Google Scholar
- Davis, Darrell and Emilie Yueh-yu Yeh (2008) East Asian Screen Industries, London: BFI.Google Scholar
- Debruge, Peter (2006) Review of The Grudge 2, Variety.com, October 13, http:// www.variety.com/review/VE1117931852.html?categoryid=31&cs=1&p=0" (Accessed April 14, 2009).
- Ebert, Roger (2004) Review of The Grudge (DVD), Chicago Sun-Times, October 21, http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20041021/ REVIEWS/40922015/1023 (Accessed April 14, 2009).
- Ehrlich, Linda C. and David Desser (1994) Cinematic Landscapes: observations on the visual arts and cinema of China and Japan, Austin: Texas University Press.Google Scholar
- Galloway, Patrick (2006) Asia Shock: Horror and Dark Cinema from Japan, Korea, Hong Kong, and Thailand, Berkeley, California: Stonebridge Press.Google Scholar
- Gateward, Frances (ed.) (2007) Seoul Searching: Culture and Identity in Contemporary Korean Cinema, Albany: State University of New York.Google Scholar
- Geller, Theresa L. (2008) “Transnational Noir: Style and Substance in Hayashi Kaiyo’s The Most Terrible Time of My Life,” in Leo Hunt and Leung Wing-Fai (eds), East Asian Cinemas: Exploring Transnational Connections on Film, London: I. B. Tauris, 172–87.Google Scholar
- Hansen, Miriam Bratu (2000) “The Mass Production of the Senses: Classical Cinema as Vernacular Modernism,” in Christine Glenhill and Linda Williams (eds), Reinventing Film Studies, London: Arnold, 332–50.Google Scholar
- Harries, Dan (2003) “Film Paradoy and the Resuscitation of Genre,” in Steve Neale, (ed.) Genre and Contemporary Hollywood, London: BFI, 281–93.Google Scholar
- Hunt, Leo and Leung Wing-Fai (eds) (2008) East Asian Cinemas: Exploring Transnational Connections on Film, London: I. B. Tauris.Google Scholar
- Ide, Wendy (2009) Review of The Good, the Bad, and the Weird, The Times, February 5, http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/ film_reviews/article5660716.ece (Accessed April 27, 2009).
- Iwabuchi, Koichi (2002) “Nostalgia for a (Different) Asian Modernity: Media Consumption of ‘Asia’ in Japan,” positions, 10: 3, 543–73.Google Scholar
- Iwabuchi, Koichi and Chua Beng Huat (eds) (2008) East Asian Pop Culture: Analysing the Korean Wave, Hong Kong: Hong Kong University Press.Google Scholar
- Lee, Hyangjin (2005) “Chunhyang: Marketing an Old Tradition in New Korean Cinema,” in Julian Stringer and Chi-Yun Shin (eds), New Korean Cinema, New York: New York University Press, 63–78.Google Scholar
- Lee, Hyangjin (2000) Contemporary Korean Cinema: Identity, Culture and Politics, Manchester: Manchester University Press.Google Scholar
- Lee, Nikki J. Y. (2007) “Salute to Mr. Vengeance!: The Making of a Transnational Auteur Park Chan-wook,” in Leo Hunt and Leung Wing-Fai (eds), East Asian Cinemas, London: I. B. Tauris, 203–19.Google Scholar
- Lee, Nikki J. Y. “‘Asia’ as Regional Signifier and Transnational Genre-Branding: The Asian Horror Omnibus Movies Three and Three … Extremes” in this volume.Google Scholar
- Lee Keehyeung (2008) “Mapping out the Cultural Politics of ‘the Korean Wave’ in Contemporary South Korea,” in Koichi Iwabuchi and Chua Beng Huat (eds), East Asian Pop Culture: Analysing the Korean Wave, Hong Kong: Hong Kong University Press, 175–90.Google Scholar
- Lee, Vivian P. Y. (2009) “Outside the Nation: the Global Trajectory of Applause Pictures,” in Hong Kong Cinema since 1997: The Post-Nostalgic Imagination, London: Palgrave Macmillan, 184–210.Google Scholar
- McRoy, Jay (2005) (ed.) Japanese Horror Cinema, Edinburgh: Edinburgh University Press.Google Scholar
- Neale, Steve (2002) “Westerns and Gangster Films Since the 1970s,” in Steve Neale (ed.), Genre and Contemporary Hollywood, London: BFI, 27–47.Google Scholar
- Nolletti, Arthur and David Desser (eds) (1992) Reframing Japanese Cinema: Authorship, Genre, History, Bloomington: Indiana University Press.Google Scholar
- Paquet, Darcy (2005) “The Korean Film Industry: 1992 to the Present,” in Julian Stringer and Chi-Yun Shin (eds), New Korean Cinema, New York: New York University Press, 32–50.Google Scholar
- Phillips, Alastair and Julian Stringer (eds) (2007) Japanese Cinema: Texts and Contexts, London and New York: Routledge.Google Scholar
- Prince, Stephen (ed.) (2004) The Horror Film, New Brunswick: Rutgers University Press.Google Scholar
- Richie, Donald (2005) A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos, Revised edition, Tokyo, New York and London: Kodansha International.Google Scholar
- Robinson, Michael (2005) “Contemporary Cultural Production in South Korea: Vanishing Meta-Narratives of Nation,” in Julian Stringer and Chi-Yun (eds), New Korean Cinema, New York: New York University Press, 15–31.Google Scholar
- Schneider, Steve Jay (ed.) (2003) Fear Without Frontiers: Horror Cinema Across the Globe, Godalming: FAB Press.Google Scholar
- Standish, Isolde (2005) A New History of Japanese Cinema: a Century of Narrative Film, New York: Continuum.Google Scholar
- Stringer, Julian and Chi-Yun Shin (eds) (2005) New Korean Cinema, New York: New York University Press.Google Scholar
- Wang, Georgette and Emilie Yueh-yu Yeh (2007) “Globalization and Hybridization in Cultural Production: a Tale of Two Films,” in Chan Kwok-bun, Jan W. Walls, and David Hayward (eds), East West Identities: Globalization, Localization, and Hybridization, Leiden/Boston: Brill, 79–82.Google Scholar
- Winter, Jessica (2004) Review of The Grudge, Village Voice, October 12, http:// www.villagevoice.com/2004-10-12/film/more-now-again-j-horror-remake- keeps-j-forgets-horror/1 (Accessed April 14, 2009).
- Yang, Fang-Chi Irene (2008) “Rap(p)ing Korean Wave: National Identity in Question,” in Koichi Iwabuchi and Chua Beng Huat (eds), East Asian Pop Culture: Analysing the Korean Wave, Hong Kong: Hong Kong University Press, 191–216.Google Scholar
- Yau, Kinnia Shuk-ting (2003) “Shaws’ Japanese Collaboration and Competition as Seen Through the Asian Film Festival Evolution,” in Wang Ain-ling (ed.), The Shaw Screen: A Preliminary Study, Hong Kong: Leisure and Cultural Services Department, 279–91.Google Scholar
- Zhang, Yingjin (2004) Chinese National Cinema, New York and London: Routledge.Google Scholar