PLANET HALLYUWOOD: IMAGING THE KOREAN WAR
2
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
This article examines the ways in which the display of violence and production of affect in two Hallyu films portraying the Korean War and its immediate aftermath—T’aegŭkki (T’aegŭkki hwinallimyŏ; Kang Che-gyu, 2004) and Once Upon a Time in Seoul (Sonyŏn ŭn ulji annŭnda; Pae Hyŏng-jun, 2008)—represents a continuing negotiation with the trauma of division and the Cold War order. These contemporary Hallyu Korean War films reveal a certain anxiety regarding both the technics of film and the newly celebrated success of Korean cinema. These films are informed by two overlapping tensions: (1) between the technological and the emotive; (2) between the antiwar genre and a masculinist (and commercial) desire to display action and violence. T’aegŭkki and Once Upon a Time in Seoul offer both memories of the war and the circulation of images and commodities in the 1950s, a period crucial to the formation of the new post-1945 South Korean culture and the South Korean-U.S. relation. Paying particular attention to the links between technology, affect, violence and commercialization, this article shows how these films confront the human-technology association and the incorporation of South Korea into the global market in ways central not only to the meaning of the Korean War and the history of division that surrounds it but also to the transnational flow of images and capital that marks Planet Hallyuwood itself.
Abstract
This article examines the ways in which the display of violence and production of affect in two Hallyu films portraying the Korean War and its immediate aftermath—T’aegŭkki (T’aegŭkki hwinallimyŏ; Kang Che-gyu, 2004) and Once Upon a Time in Seoul (Sonyŏn ŭn ulji annŭnda; Pae Hyŏng-jun, 2008)—represents a continuing negotiation with the trauma of division and the Cold War order. These contemporary Hallyu Korean War films reveal a certain anxiety regarding both the technics of film and the newly celebrated success of Korean cinema. These films are informed by two overlapping tensions: (1) between the technological and the emotive; (2) between the antiwar genre and a masculinist (and commercial) desire to display action and violence. T’aegŭkki and Once Upon a Time in Seoul offer both memories of the war and the circulation of images and commodities in the 1950s, a period crucial to the formation of the new post-1945 South Korean culture and the South Korean-U.S. relation. Paying particular attention to the links between technology, affect, violence and commercialization, this article shows how these films confront the human-technology association and the incorporation of South Korea into the global market in ways central not only to the meaning of the Korean War and the history of division that surrounds it but also to the transnational flow of images and capital that marks Planet Hallyuwood itself.
참고문헌 (10)
- Basinger, Jeanine, "The World War II Combat Film: Definition, In The War Film", pp.30~52 (2006), RutgersUniversity Press
- Diffrient, David Scott, "Han’guk Heroism: Cinematic Spectacle and the PostwarCultural Politics of Red Muffler, In South Korean Golden Age Melodrama: Gender, Genre, and National Cinema", pp.151~183 (2005), Wayne State University Press
- Joint Security Area, In The Cinema of Japan and Korea, "Kongdong Kongbi Guyok", pp.2004, Gombeaud, Adrien
- Kelly, Andrew, "The Greatness and Continuing Significance of All Quiet on theWestern Front, In The War Film", pp.23~29 (2006), Rutgers University Press
- Kim,Kyung Hyun, "The Remasculinization of Korean Cinema" (2004), Duke University Press
- Klein, Christina, "Family Ties and Political Obligation: The Discourse ofAdoption and the Cold War Commitment to Asia, In Cold War Constructions: The Political Culture of United States Imperialism, 1945–1966", pp.35~66 (2000), University of Massachusetts Press
- Lee, Namhee, "The Making of Minjung: Democracy and the Politics of Representation inSouth Korea" (2009), Cornell University Press
- Mulvey, Laura, "Death 24x a Second: Stillness and the Moving Image" (2006), Reaktion Books
- Paek Wŏn-dam, "East Asia’s Cultural Choice: Hallyu (Tong Asia ŭi munhwa sŏnt’aek:Hallyu)" (2005), P’ent’agŭraem
- Virilio, Paul, "War and Cinema: The Logistics of Perception" (2009), Verso