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Introduction

Introduction T R A N S CO LO N IA L F I L M CO P R O D U C T I O N S I N T H E JA PA N E S E E M P I R E : A N T I N O M I E S I N T H E CO LO N IA L A R C H I V E TAKASHI FUJITANI University of Toronto NAYOUNG AIMEE KWON Duke University For decades following Korea's liberation from Japanese colonial rule, scholars 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 Yng-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 production extinguished "the breath of life http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Cross-Currents: East Asian History and Culture Review University of Hawai'I Press

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Publisher
University of Hawai'I Press
Copyright
Copyright © Research Institute of Korean Studies, Korea University
ISSN
2158-9674
Publisher site
See Article on Publisher Site

Abstract

T R A N S CO LO N IA L F I L M CO P R O D U C T I O N S I N T H E JA PA N E S E E M P I R E : A N T I N O M I E S I N T H E CO LO N IA L A R C H I V E TAKASHI FUJITANI University of Toronto NAYOUNG AIMEE KWON Duke University For decades following Korea's liberation from Japanese colonial rule, scholars 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 Yng-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 production extinguished "the breath of life

Journal

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

Published: May 22, 2013

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