Transnationalism and Film Genres in East Asian Cinema Editor’S Introduction

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Transnationalism and Film Genres in East Asian Cinema Editor’S Introduction Dong Hoon Kim Transnationalism and Film Genres in East Asian Cinema Editor’s Introduction Th�����������������������������������������������������������������������������������ere�������������������������������������� �������������������������������������has���������������������������������� always ��������������������������been ���������������������a �������������������certain �����������tendency in transnationalism in order to continue to develop and academia�������������������������������������������. A theory, concept or discourse fascinate����������s complicate the questions we ask. And to achieve a large number of scholars at any given time and this creative distance, we have to constantly mull shapes their ���������������������������������������personal������������������������������� as well as collective pursuits over our own compulsion to fling ourselves into this of knowledge or ��truth.truth.truth.”���������������������� ���������������������Although we media and grand narrative of ���������knowledge��production. cultural studies scholars strive to ������������������decipher���������� and �����grasp This volume of Spectator is an e�������������ort���������� to search our relation to our everyday lives, �����������������societies�������� and the for a critical distance that allows us to engage with world through the critical analysis of cultural texts, the studies of transnationalism in a self�reflexive we are often ���������������������������������������indolent������������������������������� when it comes to interrogating manner. It is specifically committed to expanding our own �“����������������������������������������structure of feeling ���in �������aymond the historical ����������������������������������understandings�������������������� of transnationalism William��������s’������ sense ��������������������������������that characterizes our academic, in its ������������������������������������������explor������������������������������������ation of the convoluted associations intellectual, and cultural lives at a particular time between transnationalism and filmmaking in East and place. This volume ofSpectator began as a form Asia. In this regard, the essays in this volume are of a contemplative reflection on a knowledge system products of each and every author�’��������������������������s analysis of that has mesmerized our intellectual psyche and what has been said as well as not said in the studies underwrote the film, media and cultural studies for of ��������������������������������������������transnational������������������������������� East Asian cinema. This volume the past decade or so:� �transnationalism. �transnationalism.transnationalism.”��������� ��������I should explores the extent to which transnational processes make ������������������������������it clear here that �����������this volume, however, does have influenced the shaping of East Asian cinema, not intend to ambitiously challenge, redefine, focusing ������������������������������������particularly������������������������ on how film genres have or redirect the discourse of transnationalism nor reflected, employed, internalized or influenced the evaluate the ����������������������������������relevancy������������������������� of its dominant position interactions and tensions between the local and and wide circulation within the film and media global, and the national and transnational. East studies. At the same time this does not mean that Asian remakes by Hollywood, regional and global this volume should be regarded as a mere echo of film and media co�productions, and the global this particular int���������������������������������ellectual������������������������ trend that only repeats popularity of Japanese and Korean popular cultural or reiterates what has been ���������������������already�������������� uttered. What products have received considerable attention of film I suggest is that we need to allow for a greater and media ��������������������������������������scholars������������������������������ who explore the transnational distance from this powerful discourse that we call movement of East Asian �������������������cinema������������� because they Transnationalism and Film Genres in East Asian Cinema Dong Hoon Kim, editor, Spectator 29:2 (Fall 2009): 5-8. EdItor’s IntroductIon represent not only the intensified ���������������travels of East changing, �������������������unsteady����������� notions of �“������������nation”��� ���and ���������national Asian ���������������������������������������������films ���������������������������������������across the globe but also�������������� a �����������revers�����al of identity.”���������������������������������� ���������������������������������As I discuss in detail elsewhere,2 the the �����������������������������������������p����������������������������������������resumed flow of influence from Hollywood concept of national cinema in the East Asian context to other national cinemas. ���������������������ot surprisingly, the was already unstable from the start as Japanese studies������������������������������������������� of the ways in which East Asian cinema has imperialism vigorously and ��������������������persistently�������� altered traveled and been imagined to travel focus on this territorial, political and cultural borders across the contemporary period of the globalization of East region upon the emergence of cinema, resulting in Asian cinema and often render a �������������������celebratory�������� account the blurring of the ���������������������������boundaries����������������� between national of how East Asian cinema has finally�transcended transcended�transcended cinemas in the region. Th���������������������������������������������������erefore, transnationalism a number of �“����������������������boundaries.�� �������������������������et there have been fewer is defined in this volume not simply as a term that attempts to oer a historical perspective and/or map designates a kind of social system or �������symptom the �����������������genealogy�������� of this “�������border�crossingcrossing”���������� ���������nature of derived from the �����������������������������current���������������������� shifts in economic or East Asian cinema. In fact, ������������������������it is common to consider political mechanisms but rather as a broader one the transnational flows in East Asian cinema as “��������burdened”��������������������������������������� ��������������������������������������with historically ��������������������accumulated��������� tensions exclusive practices of the late �������������������capitalism���������. This is that have �������������������������������������constantly��������������������������� ��������������������������reshap��������������������ed and contested the problematic as it often disregards the complex concepts of nation and national cinema. histories of the transnational dissemination of While the historicity that leads us to look culture across nations, regions and empires. Indeed, into the transnational paradigms across a range of this kind of perspective tends to overemphasize historical contexts and legacies is the theoretical recent transformations in the global configuration framework that defines this volume�’����������������������s approach, of capital, power, media and culture and thus define the central subject that the essays explore in the terms ��transnationalismtransnationalismtransnationalism”���� and ��transnationaltransnationaltransnational”��� in conjunction����������������������������������� to transnationalism is film genre. �et sole relation to this limited temporality. �eedless me explain, w��������������������������������������e ������������������������������������usually����������������������������� ����������������������������consider�������������������� �������������������film��������������genre in terms to say, I am not arguing for the dismissal of the of generic �����������������������������������������convention�������������������������������s, industrial ������������������practice����������s���������,�������� audience importance of this specific‘������������������������� �������������������������form� ’����������������������������������������� of transnationalism, expectations, �������������������������������������or national cinema traditions, but������ we but I would suggest it should be noted that this is seldom think of�������������������������������������� genre filmsand������������������������� genre classifications a rather ���������������������������������������������restrict�������������������������������������ive definition that fails to consider in relation to������������������������������������ transnational influences����������� and global the historical formation of transnationalism geopolitics. In this light, it is worth pointing out and, most importantly, the fact that the modern that the majority of East Asian films remade in concept of �“������������nation”��������������������������� ��������������������������has ����������������������always���������������� been contested. Hollywood over the past few years are genre films, In her groundbreaking study of ����������������transnationalism such as Japanese horrors, Hong Kong gangster Flexible Citizenship, Aihwa Ong note���������s�������� that we movies, and S�����������������������outh���������������������� Korean melodramas. �espite������ often �“������������������������������������overlook������������������������������������ complicated
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