Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Introduction

Introduction T R A N S C OLONI A L F I L M C O PR ODUC T I ONS IN T H E JA PA NESE E M P I RE : ANTI N O M I E S I N TH E C O LO N I AL ARC H IVE TAKASHI FUJITANI University of Toronto NAYOUNG AIMEE KWON Duke University For decades following Korea’s liberation from Japanese colonial rule, schol- ars and film critics avoided or largely ignored the study of Japanese-Korean film coproductions. In large part due to the difficulty of placing such films comfortably within the linear narrative of national history and the story of a presumed national subject, Korean scholars and critics in the immediate postwar and postcolonial decades tended to discount and disregard films produced during much of the colonial period, especially the wartime years. The film critic Yi Yŏng-il, for example, charged that Korean filmmaking ended in 1942, thereby making any films produced thereafter unworthy of attention. In his words, the severe controls placed upon Korean film produc- tion extinguished “the breath of life of Korean cinema in its proper sense” (Yi Yŏng-il 1986, 333). At the same time, in post-defeat http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Cross-Currents: East Asian History and Culture Review University of Hawai'I Press

Loading next page...
 
/lp/university-of-hawai-i-press/introduction-PoYHvsGRSw
Publisher
University of Hawai'I Press
Copyright
Copyright © Research Institute of Korean Studies, Korea University
ISSN
2158-9666
eISSN
2158-9674

Abstract

T R A N S C OLONI A L F I L M C O PR ODUC T I ONS IN T H E JA PA NESE E M P I RE : ANTI N O M I E S I N TH E C O LO N I AL ARC H IVE TAKASHI FUJITANI University of Toronto NAYOUNG AIMEE KWON Duke University For decades following Korea’s liberation from Japanese colonial rule, schol- ars and film critics avoided or largely ignored the study of Japanese-Korean film coproductions. In large part due to the difficulty of placing such films comfortably within the linear narrative of national history and the story of a presumed national subject, Korean scholars and critics in the immediate postwar and postcolonial decades tended to discount and disregard films produced during much of the colonial period, especially the wartime years. The film critic Yi Yŏng-il, for example, charged that Korean filmmaking ended in 1942, thereby making any films produced thereafter unworthy of attention. In his words, the severe controls placed upon Korean film produc- tion extinguished “the breath of life of Korean cinema in its proper sense” (Yi Yŏng-il 1986, 333). At the same time, in post-defeat

Journal

Cross-Currents: East Asian History and Culture ReviewUniversity of Hawai'I Press

Published: May 22, 2013

There are no references for this article.