This examination of the role of Korean film as a cultural text of Koreans in both the North and South focuses on the conflicting self-identities of a people still strongly committed to their common cultural traditions despite political division. This study defines the significance of filmmaking and film viewing in Korean society. It covers the introduction of motion pictures in 1903, Korean cinema during the Japanese colonial period (1910-45) and the development of North and South Korean cinema up to the 1990s. It introduces the works of Korea's major directors, and analyzes the Korean film industry in terms of film production, distribution and reception. Based on this historical analysis, the study investigates ideological constructs in 17 films, eight from North Korea and nine from South Korea.
This examination of the role of Korean film as a cultural text of Koreans in both the North and South focuses on the conflicting self-identities of a people still strongly committed to their common cultural traditions despite political division. This study defines the significance of filmmaking and film viewing in Korean society. It covers the introduction of motion pictures in 1903, Korean cinema during the Japanese colonial period (1910-45) and the development of North and South Korean cinema up to the 1990s. It introduces the works of Korea's major directors, and analyzes the Korean film industry in terms of film production, distribution and reception. Based on this historical analysis, the study investigates ideological constructs in 17 films, eight from North Korea and nine from South Korea.
Preface
Introduction
Part one: The creation of national identity: a history of
cinema
1. Korean film during the Japanese colonial period
2. The development of North Korean film
3. The development of South Korean film
Part two: Gender and cinematic adaptations of Ch'unhyangjon
4. The origin of Ch'unhyangjon
5. The significance of Ch'unhyangjon in Korean film history
6. The images of Ch'unhyangjon in South Korean films
7. The images of Ch'unhyangjon in North Korean films
8. Ch'unhyangjon and patriarchal gender realtions in Korean
society
Part three: Nationhood and the cinematic representation of
history
9. Anti-imperialism in three North Korean films
10. Anti-commmunism in three South Korean films
11. Familyhood and nationhood
Part four: Class and cultural identities in contemporary Korea
12. Class conflicts in three North Korean films
13. Class dynamics in three South Korean films
14. Class experience and the cultural tradition
Conclusion
Bibliography
Filmography
Hyangjin Lee is a Senior Teaching Fellow in the School of East Asian Studies at the University of Sheffield
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