Asian 202 - Korea Through TV Drama and Film | University of Auckland

09/29/21 Asian 202 - Korea through TV Drama and Film | University of Auckland

Asian 202 - Korea through TV Drama and View Online Film

The course offers a chance to explore the depth of Korean popular culture in relation to its dynamic socio-historical aspects.

Barthes, R. (2002). Rhetoric of the Image. In The visual culture reader (2nd ed). Routledge.

Bell, E. (2007). Televising history: The past(s) on the small screen. European Journal of Cultural Studies, 10(1), 5–12. https://doi.org/10.1177/1367549407072966

Carter, C., Steiner, L., & McLaughlin, L. (Eds.). (2014a). Chapter 1. Media and the Representation of Gender in The Routledge Companion to Media & Gender: Vol. Routledge companions. Routledge, Taylor & Francis Group. https://www-routledgehandbooks-com.ezproxy.auckland.ac.nz:9443/doi/10.4324/9780203 066911.ch1

Carter, C., Steiner, L., & McLaughlin, L. (Eds.). (2014b). Chapter 8. Gender, Media and Trans/national Spaces in The Routledge Companion to Media & Gender: Vol. Routledge companions. Routledge, Taylor & Francis Group. https://www-routledgehandbooks-com.ezproxy.auckland.ac.nz:9443/doi/10.4324/9780203 066911.ch8

Catastrophe and finitude in Lee Chang Dong’s Peppermint Candy: temporality, narrative, and Korean history. (2008). Post Script: Essays in Film and the Humanities, 27(3). http://search.proquest.com.ezproxy.auckland.ac.nz/docview/232161287?OpenUrlRefId=inf o:xri/sid:primo&accountid=8424

Chang, K. (2010). Chapter 7. Chaebol: the Logic of Familial Capitalism in South Korea under compressed modernity: familial political economy in transition: Vol. Routledge advances in Korean studies. Routledge. https://www-taylorfrancis-com.ezproxy.auckland.ac.nz/books/9781136990267/chapters/10. 4324%2F9780203854396-12

Choi, C. (2002). Chapter 4. The Politics of Gender, Aestheticism, and Cultural Nationalism in Sopyonje and The Genealogy in Im Kwon-taek: the making of a Korean national cinema: Vol. Contemporary film and television series. Wayne State University Press. http://ezproxy.auckland.ac.nz/login?url=http://search.ebscohost.com/login.aspx?direct=tru e&db=nlebk&AN=698596&site=ehost-live&scope=site&ebv=EB &ppid=pp_107

Choi, Jinhee. (2010). Chapter 1. Faces of Globalization in The South Korean Film Renaissance. In The South Korean Film Renaissance. Wesleyan. http://site.ebrary.com.ezproxy.auckland.ac.nz/lib/auckland/reader.action?docID=10468426 &ppg=7

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Deutelbaum, M. (2014). Approaching Hong Sang-soo. New Review of Film and Television Studies, 12(1), 1–4. https://doi.org/10.1080/17400309.2013.880015

Epstein, S. J., & Monash University ePress. (2010). Chapter 1. Distant land, neighbouring land : ‘Japan’ in South Korean popular discourse in Complicated currents: media flows, soft power and East Asia. Monash University ePress.

Freud, S., McLintock, D., & Haughton, H. (2003). The Uncanny: Vol. Penguin classics. Penguin Books.

Harper, S. (2005). Media, Madness and Misrepresentation: Critical Reflections on Anti-Stigma Discourse. European Journal of Communication, 20(4), 460–483. https://doi.org/10.1177/0267323105058252

Hong, S., Huppert, I., Yu, C., Cho ̆ ng, Y., Cho ̆ nwo ̆ nsa, & DS Media. (2012). Tarŭ n nara eso ̆ . Diesu ̆

Midio ̆ .

Im, S., Cho ̆ n, T., Yi, C., Youn, Y.-J., Seo, W., Mirovision (Firm), & IFC Films. (2011). The housemaid. IFC Films.

Iwabuchi, K., Chua, B. H., & Project Muse. (2008). Chapter 1. The Growth of Korean Cultural Industries and the Korean Wave in East Asian pop culture: analysing the Korean wave. Hong Kong University Press. http://muse.jhu.edu/chapter/129300

Kang, M., & Kim, S. (2011). Are our families still Confucian? Representations of family in East Asian television dramas. International Journal of Cultural Studies, 14(3), 307–321. https://doi.org/10.1177/1367877910391869

Kim, Andrew Eungi. (n.d.). Increasing Ethnic Diversity in South Korea: An Introductory Essay*. Korea Observer, 41(4), 497–515. http://search.proquest.com.ezproxy.auckland.ac.nz/docview/837429635/fulltextPDF/D3073

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BD026454383PQ/1?accountid=8424

Kim, D. (1990). THE TRANSFORMATION OF FAMILISM IN MODERN KOREAN SOCIETY: FROM COOPERATION TO COMPETITION. International Sociology, 5(4), 409–425. https://doi.org/10.1177/026858090005004004

Kim, D., Cho, J., Jeong, H., Han’guk Kukche Kyoryu Chaedan, & Arirang TV. (2004). The dynamic culture of contemporary Korea: Vol. Korean arts & lifestyle. Korea Foundation. https://www.youtube.com/watch?v=a0Kv7SCAFDk

Kim, H., & Taylor & Francis. (2013). Chapter 3. Civil Society in the making. In State-centric to contested social governance in Korea: shifting power: Vol. Routledge studies on modern Korea. Routledge. https://www-taylorfrancis-com.ezproxy.auckland.ac.nz/books/9781135125196/chapters/10. 4324%2F9780203076385-11

Kim, K. H. (2004). Chapter 8. Lethal Work: Domestic Space and Gender Troubles in Happy End and The Housemaid in The remasculinization of Korean cinema: Vol. Asia-Pacific. Duke University Press. http://site.ebrary.com.ezproxy.auckland.ac.nz/lib/auckland/reader.action?ppg=246&d ocID=10215106&tm=1466394518997

Kim, K., Kim, C., Chu, C., O ̆ m, A., Han, S., Hanʼguk Munye Yo ̆ nghwa Chusik Hoesa, Hanʼguk Yo ̆ ngsang Charyowo ̆ n (Seoul, Korea), & Bluekino (Firm). (2009). Hanyŏ : Vol. Korean Film Archive collection. Hanʼguk Yo ̆ ngsang Charyowo ̆ n.

Kim, K., No, H., Cho, I., Kong, H., Sŏng, T., Yi, K., GT Entertainment (Firm), & CJ E&M (Firm). (2014). Kwaench’ana, sarang iya =: It's alright : this is love. Poh Kim.

Kim, M., Yi, C., Chʻoi, C., Kim, H., Kim, T., & Han’guk Pangsong Kongsa. (2005). Pulmyŏ l u ̆

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i Yi Sun-sin: Immortal Yi Soon Shin. KBS America.

Kim, S., Hyo ̆ n, P., MBC., & Ya Entertainment (Firm). (2005). Nae iru ̆ m u ̆ n Kim Sam-sun: My lovely Sam-Soon. Ya Entertainment.

Kim, S., & Wang, H. (2012). From television to the film set: Korean drama Daejanggeum drives Chinese, Taiwanese, Japanese and Thai audiences to screen-tourism. International Communication Gazette, 74(5), 423–442. https://doi.org/10.1177/1748048512445152

Kim, T., Min, K., Kim, M., Pak, Y., Yi, Y., Paek, C., Kong, H., Cho, S., O, K., Yi, C., Cine 2000 (Firm), & Tartan Video (Firm). (2005). Yŏgo koedam: tubŏntchae iyagi = Memento mori. Tartan Video.

Kim, Y. (Ed.). (2013). ‘Korean Wave pop culture in the global Internet age : why popular? Why now?’ (by Youna Kim) in The Korean wave: Korean media go global. In The Korean wave: Korean media go global: Vol. Internationalizing media studies. Routledge. http://www.tandfebooks.com.ezproxy.auckland.ac.nz/isbn/9781315859064

Lee, K. (2008). Chapter 9. Mapping Out the Cultural Politics of "the Korean Wave” in Contemporary South Korea in East Asian pop culture: analysing the Korean wave. Hong Kong University Press. http://muse.jhu.edu.ezproxy.auckland.ac.nz/chapter/129310

Maggie Lee. (n.d.). In Another Country/Da-reun Na-ra-e-suh. Variety. http://go.galegroup.com.ezproxy.auckland.ac.nz/ps/i.do?&id=GALE|A294369924& ;v=2.1&u=learn&it=r&p=AONE&sw=w

Martin, Daniel -- (Professor Of Film Studies). (n.d.). South Korean Cinema’s Postwar Pain: Gender and National Division in Korean War Films from the 1950s to the 2000s. http://www.jstor.org.ezproxy.auckland.ac.nz/stable/43923159

Na, H., Han, S., Ha, C., Kim, Y., Cho, S., & Pʻapkʻon Pʻillu ̆ m (Firm). (2012). The yellow sea. Bounty Films.

Pak, C., Yi, U., Sim, C., Yi, Y., Yi, P., Song, K., Sin, H., Kim, T., & Myo ̆ ng Pʻillu ̆ m. (2002). Kongdong kyo ̆

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ngbi kuyo ̆ k JSA: Joint Security Area. CJ Entertainment.

Pak, K., Cho ̆ ng, C., Sin, H., Kang, H., Im, H., Yi, U., KD Media, & Pʻillu ̆ m Itsuda. (2005). Welkʻŏ m tʻu Tongmakkol: Welcome to Dongmakgol (Anamorphic widescreen). KD Media.

Rayns, T. (n.d.). ‘Welcome to Dongmakgol’. http://ezproxy.auckland.ac.nz/login?url=http://search.proquest.com.ezproxy.auckland.ac.n z/docview/237119599?accountid=8424

Saito, S., & Ishiyama, R. (2005). The invisible minority: under‐representation of people with disabilities in prime‐time TV dramas in Japan. Disability & Society, 20(4), 437–451. https://doi.org/10.1080/09687590500086591

Seth, Michael J. (2011). Chapter 11. Division and War, 1945-1953 in A History of Korea : From Antiquity to the Present. Rowman & Littlefield Publishers. http://site.ebrary.com.ezproxy.auckland.ac.nz/lib/auckland/reader.action?docID=10434969 &ppg=257

Shin, C.-Y., & Stringer, J. (2005). Chapter 13. Memento Mori and other Sexualities in New Korean cinema. Edinburgh University Press. http://www.jstor.org.ezproxy.auckland.ac.nz/stable/10.3366/j.ctt1r1xtq.18

Todd Mcgowan. (2007). Affirmation of the Lost Object: Peppermint Candy and the End of Progress. Symplokē, 15(1), 170–189. http://www.jstor.org.ezproxy.auckland.ac.nz/stable/40550767?seq=1#page_scan_tab_cont ents

Yi, C., Im, K., Yi, T., Kim, S., Kim, M., O, C., Kim, K., & Tʻaehu ̆ ng Yo ̆ nghwa Chusik Hoesa. (2005). Sŏ pʻyo ̆ nje: Vol. Im Kwon Taek collection. Su ̆ pʻektʻu ̆

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ro ̆ m dibu ̆ idi.

Yi, C., Sŏl, K., Mun, S., Kim, Y., Myŏng, K., Chŏn, C., Chŏn, Y., Isŭt’ŭ P'illim, & Sindo P’illim. (2000). Pakha sat’ang: Peppermint candy. Uni Korea.

Yi, M., Yi, U., Sŏng, T., Yi, I., Ko, A., Chong, U., Kim, S., Sin Wŏn-ho, & CJ E&M Corporation. (n.d.). Ŭngdap hara 1994 =: Reply 1994 (Special edition). TMC Productions.

Yi, P., Yi, Y., Chi, C., Im, H., Kim, S., & MBC Munhwa Pangsong Chusik Hoesa. (2004). Tae Changgu ̆ m: Dae Jang Geum. YesAsia.

Yu, H., Kwo ̆ n, S., Yi, C., Han, K., Chʻa, S., No, C., Chʻoe, S., & Ssaido ̆ su ̆ . (2004). Malchuk Ko ̆ ri chanhoksa: Once upon a time in high school (Anamorphic widescreen). CJ Entertainment.

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