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The University of Chicago Tears in the Imperial Screen
THE UNIVERSITY OF CHICAGO TEARS IN THE IMPERIAL SCREEN: WARTIME COLONIAL KOREAN CINEMA, 1936-1945 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF EAST ASIAN LANGUAGES AND CIVILIZATIONS BY HYUN HEE PARK CHICAGO, ILLINOIS AUGUST 2017 TABLE OF CONTENTS Page LIST OF TABLES ...…………………..………………………………...……… iii LIST OF FIGURES ...…………………………………………………..……….. iv ABSTRACT ...………………………….………………………………………. vi CHAPTER 1 ………………………..…..……………………………………..… 1 INTRODUCTION CHAPTER 2 ……………………………..…………………….……………..… 36 ENLIGHTENMENT AND DISENCHANTMENT: THE NEW WOMAN, COLONIAL POLICE, AND THE RISE OF NEW CITIZENSHIP IN SWEET DREAM (1936) CHAPTER 3 ……………………………...…………………………………..… 89 REJECTED SINCERITY: THE FALSE LOGIC OF BECOMING IMPERIAL CITIZENS IN THE VOLUNTEER FILMS CHAPTER 4 ………………………………………………………………… 137 ORPHANS AS METAPHOR: COLONIAL REALISM IN CH’OE IN-GYU’S CHILDREN TRILOGY CHAPTER 5 …………………………………………….…………………… 192 THE PLEASURE OF TEARS: CHOSŎN STRAIT (1943), WOMAN’S FILM, AND WARTIME SPECTATORSHIP CHAPTER 6 …………………………………………….…………………… 241 CONCLUSION BIBLIOGRAPHY …………………………………………………………….. 253 FILMOGRAPHY OF EXTANT COLONIAL KOREAN FILMS …………... 265 ii LIST OF TABLES Page Table 1. Newspaper articles regarding traffic film screening events ………....…54 Table 2. Newspaper articles regarding traffic film production ……………..….. 56 iii LIST OF FIGURES Page Figure. 1-1. DVDs of “The Past Unearthed” series ...……………..………..…..... 3 Figure. 1-2. News articles on “hygiene film screening” in Maeil sinbo ….…... 27 Figure. 2-1. An advertisement for Sweet Dream in Maeil sinbo……………… 42 Figure. 2-2. Stills from Sweet Dream ………………………………………… 59 Figure. 2-3. Stills from the beginning part of Sweet Dream ………………….…65 Figure. 2-4. Change of Ae-sun in Sweet Dream ……………………………… 76 Figure. 3-1. An advertisement of Volunteer ………………………………….. 99 Figure. 3-2. Stills from Volunteer …………………………………...……… 108 Figure. -
Western Criticism, Labelling Practice and Self-Orientalised East Asian Films
Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films Goldsmiths College University of London PhD thesis (Cultural Studies) Ji Yeon Lee Abstract This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism. -
Cinema Year Book of Japan 1938
.1 Digitized by the Internet Archive in 2017 with funding from Media History Digital Library https://archive.org/details/cinemayearbookof00inte_0 CINEMA YEAR BOOK OF JAPAN 1938 EDITED BY THE INTERNATIONAL CINEMA ASSOCIATION OF JAPAN PUBLISHED BY KQKUSAI BUNKA SHINKOKAI The Society for International Cultural Relations TOKYO, JAPAN PRINTED IN JAPAN, 1938 PREFACE The vigorous culture of Japan is rooted in the traditions of more than twenty-five centuries. Through many years Japan has been looked upon with admiration as a land of dreams and imagination by only a limited number of interested people. Still less is the number of those who know the real Japan in which old tradition is harmoniously blended with the civilization of the new age. Herein lies the necessity to introduce to the world the true features of present-day Japan. The cultural activities of our country have witnessed a remarkable advance in recent years in civilization, whether liberal arts or arts. Cinematography too, has kept every field of spiritual fine , abreast with this general cultural advancement. The motion-picture industry of our country which, only a few years ago, met barely ivith the needs within the country, has begun to send forth its pro- ductions to the international market, the realization of an ideal cherished for many years. The Japanese film production to-day is steadily equipping itself ivith the ultimate aim of participating in the stage of international cinema activities. As already mentioned in the Cinema Year Book of last year, it will not be long before the Japanese films will play a significant role in the world market. -
Developments in the Japanese Documentary Mode • Marcos Centeno and Michael Raine Developments in the Japanese Documentary Mode
Developments in the Japanese Documentary Mode • Marcos Centeno • Marcos and Michael Raine Developments in the Japanese Documentary Mode Edited by Marcos Centeno and Michael Raine Printed Edition of the Special Issue Published in Arts www.mdpi.com/journal/arts Developments in the Japanese Documentary Mode Developments in the Japanese Documentary Mode Editors Marcos Centeno Michael Raine MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tokyo • Cluj • Tianjin Editors Marcos Centeno Michael Raine Department of Cultures and Film Studies Program, Languages, Birkbeck, Western University University of London Canada UK Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Arts (ISSN 2076-0752) (available at: https://www.mdpi.com/journal/arts/special issues/developments japanese documentary mode). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Volume Number, Page Range. ISBN 978-3-03943-913-3 (Hbk) ISBN 978-3-03943-914-0 (PDF) Cover image courtesy of Komura Shizuo. © 2020 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. -
JAPANESE CINEMA DONALD Eichie Has Lodg Been the Internationally Acclaimed Expert on the Japanese Film
JAPANESE CINEMA DONALD EiCHiE has loDg been the internationally acclaimed expert on the Japanese film. He is a former member of Uni- Japan Film and film critic for The Japan Times, and is pres- ently Curator of the Film Department at the Museum of Modern Art, New York. He designed and presented the Kurosawa and Ozu retrospectives, as well as the massive 1970 retrospective at the museum, The Japanese Film. His book on The Films of Akira Kurosawa has been called a "virtual model for future studies in the field." Mr. Richie has been a resident of Japan for the past twenty-five years. Film books by Donald Richie: The Cinematographic View: A Study of the Film. 1958. The Japanese Film: Art and Industry. 1959. Co-authored with Joseph L. Anderson. Japanese Movies. 1961. The Japanese Movie: An Illustrated History. 1965. The Films of Akira Kurosawa. 1965. George Stevens: An American Romantic. 1970. Japanese Cine2wa Film Style and National Character Donald Ricliie Anchor Books DOUBLEDAY & COMPANY, INC., GABDKN CTTY, NEW YORK This book is an extensively revised, expanded, and updated version of Japanese Movies, © 1961 by Japan Travel Bureau. Original material reprinted by pemMSsion of the Japan Travel Bureau, Inc., Japan. Library of Congress Catalog Card Number 77-163122 Copyright © 1971 by Donald Richie Copyright © 1961 by Japan Travel Bureau All Rights Reserved Printed in the United States of America CONTENTS List of Illiistrations vii Introduction xvii 1896-1945 1 194&-1971 59 Appendix 239 Index 250 LIST OF ILLUSTRATIONS The Abe Clan, 1938. 29 An Actor's Revenge, 1963. -
Cinematographers and the Culture Film in Japan in the Early 1940S
arts Article What’s the Use of Culture? Cinematographers and the Culture Film in Japan in the Early 1940s Daisuke Miyao Department of Literature, University of California, San Diego, San Diego, CA 92093, USA; [email protected] Received: 6 January 2019; Accepted: 22 March 2019; Published: 27 March 2019 Abstract: In the early 1940s Japan, cinematographers and critics feverishly discussed the notions of immediacy and authorship in relation to documentary practices. The status of cinematographers as the authors of the images that they shot was particularly questioned in those conversations due to the mechanical nature of the motion picture camera. This article mainly focuses on the discussions in the journal Eiga Gijutsu (Film Technology) in 1941–1942 over the notion of culture, and examines how cinematographers imagined their new roles in documentary practices in the cinema. Keywords: documentary; cinematography; authorship; the culture film 1. Introduction It is true that today’s new media, personal portable devices—mobile phones and digital cameras in particular—and Web 2.0 platforms of video-sharing websites have been reshaping documentary practices. Not only the notion of immediacy, but also that of authorship have been widely discussed in relation to such practices. However, before the “fourth screen” of the mobile devices appeared, or even before the second (television) and the third (computer), there were times when cinematographers and critics feverishly discussed the notions of immediacy and authorship in relation to documentary practices. The late 1930s to early 1940s in Japan was one such moment. The status of cinematographers as authors of the images they shot was particularly questioned in those debates due to the mechanical nature of the motion picture camera. -
A Drama of Superimposed Maps: Ozu's So Far from the Land of Our Parents
A Drama of Superimposed Maps: Ozu’s So Far From The Land of Our Parents Peter B. High Until fairly recently, Ozu Yasujiro’s attitude toward war and his activities during the “China Incident” and the ensuing Pacific War have received scant attention from film scholars. At least part of the reason is of course the almost universal esteem for his postwar oeuvre and an equally universal reverence for Ozu as one of the preeminent artists of cinema. In his prewar films depicting ordinary Japanese families, however, one can often discern a somewhat passive, war-affirming subtext. Even his postwar films feature a scattering of scenes in which characters remember the war with nostalgia or ambiguous regret. Such textual evidence (along with his own pronouncements published in the wartime era press) make it clear that, while he was never a war monger, he was never a member of the pacifist party. In the past decade or so, new research-most prominently that of Tanaka Masasumi (Ozu Yasujiro to Senso, Misuzu Shobo, 2005), as well as certain modest contributions from myself—has begun the penetrate the cordon sanitaire of “delicacy” which kept this subject veiled in obscurity during much of the postwar era. The results of this research hardly create the grounds for an assault on Ozu’s personal reputation; there is no credible evidence to depict him as a craven, undiscerning collaborator with the proto-fascist regime of the “Fifteen Year’s War” era. On the other hand, there is more than sufficient evidence to depict him as having been patriotically convinced of the essential rightness of his nation’s cause during the war and that this opinion created a strong motivational force both in his films and in his activities within the film industry of the time. -
A SHORT HISTORY of FILM 00 Dixon FM I-Xxxviii 1/15/08 9:26 AM Page Ii 00 Dixon FM I-Xxxviii 1/15/08 9:26 AM Page Iii
00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page i A SHORT HISTORY OF FILM 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page ii 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page iii FILMA SHORT HISTORY OF WHEELER WINSTON DIXON & GWENDOLYN AUDREY FOSTER rutgers university press new brunswick, new jersey 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page iv Library of Congress Cataloging-in-Publication Data Dixon, Wheeler W., 1950– A short history of film / Wheeler Winston Dixon and Gwendolyn Audrey Foster. p. cm. Includes bibliographical references and index. ISBN 978–0-8135–4269–0 (hardcover : alk. paper)—ISBN 978–0-8135–4270–6 (pbk. : alk. paper) 1. Motion pictures—History. 2. Motion picture industry—History. I. Foster, Gwendolyn Audrey. II. Title. PN1993.5.A1D53 2008 791.43Ј7—dc22 2007022097 Copyright © 2008 by Wheeler Winston Dixon and Gwendolyn Audrey Foster All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or me- chanical, or by any information storage and retrieval system, without written permission from the publisher. Please contact Rutgers University Press, 100 Joyce Kilmer Avenue, Piscataway, NJ 08854–8099. The only exception to this prohibition is “fair use” as defined by U.S. copyright law. Visit our Web site: http://rutgerspress.rutgers.edu Manufactured in the United States of America 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page v To the filmmakers, historians, and critics of the twenty-first century 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page vi 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page vii CONTENTS -
Historical Dictionary of Japanese Cinema
HISTORICAL DICTIONARIES OF LITERATURE AND THE ARTS Jon Woronoff, Series Editor Science Fiction Literature, by Brian Stableford, 2004. Hong Kong Cinema, by Lisa Odham Stokes, 2007. American Radio Soap Operas, by Jim Cox, 2005. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. Fantasy Literature, by Brian Stableford, 2005. Australian and New Zealand Cinema, by Albert Moran and Errol Vieth, 2006. African-American Television, by Kathleen Fearn-Banks, 2006. Lesbian Literature, by Meredith Miller, 2006. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. British Radio, by Seán Street, 2006. German Theater, by William Grange, 2006. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. Sacred Music, by Joseph P. Swain, 2006. Russian Theater, by Laurence Senelick, 2007. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. Postmodernist Literature and Theater, by Fran Mason, 2007. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. Australian Radio and Television, by Albert Moran and Chris Keating, 2007. Polish Cinema, by Marek Haltof, 2007. Old Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. Renaissance Art, by Lilian H. Zirpolo, 2008. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. American Theater: Modernism, by James Fisher and Felicia Hardison Londré, 2008. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. Horror Cinema, by Peter Hutchings, 2008. Westerns in Cinema, by Paul Varner, 2008. Chinese Theater, by Tan Ye, 2008. Italian Cinema, by Gino Moliterno, 2008. Architecture, by Allison Lee Palmer, 2008. Russian and Soviet Cinema, by Peter Rollberg, 2008. African American Theater, by Anthony D. Hill, 2009. -
The Uses of History in the Cinema of Japan, 1925-1945
Re-Viewing the Past: The Uses of History in the Cinema of Japan, 1925-1945 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation O'Reilly, Sean D. 2015. Re-Viewing the Past: The Uses of History in the Cinema of Japan, 1925-1945. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467187 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA REVIEWING THE PAST: THE USES OF HISTORY IN THE CINEMA OF JAPAN, 1925-1945 A dissertation presented by Sean D O'Reilly to The Department of East Asian Languages and Civilizations in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History and East Asian Languages Harvard University Cambridge, Massachusetts © 2015 – Sean D O'Reilly All rights reserved. Professor Andrew Gordon Sean O'Reilly Re-viewing the Past: The Uses of History in the Cinema of Japan, 1925-1945 Abstract In this thesis I use historical films to construct a social history of Japan's tumultuous interwar and wartime periods. I analyze filmic depictions of the Bakumatsu period (1853-1868), Japan's rocky transition to modernity, from the perspective of the audiences of 1925-1945, an era in which societal interest in representations of the Bakumatsu period soared.