Movie Migrations: Transnational Genre Flows and South Korean by Hye Seung Chung, David Scott Diffrient

By Hye Seung Chung, David Scott Diffrient

Because the billion YouTube perspectives for “Gangnam kind” might point out, South Korean pop culture has all started to get pleasure from new prominence at the international degree. but, as this well timed new examine finds, the nation’s movie has lengthy been a hub for transnational trade, generating video clips that positioned a special spin on usual genres, whereas influencing global cinema from Hollywood to Bollywood. 

Movie Migrations is not just an advent to 1 of the world’s so much shiny nationwide cinemas, but additionally a provocative name to reimagine the very innovations of “national cinemas” and “film genre.” hard conventional severe assumptions that position Hollywood on the middle of style construction, Hye Seung Chung and David Scott Diffrient deliver South Korean cinema to the vanguard of modern and ongoing debates approximately globalization and transnationalism. In each one bankruptcy they tune a special means that South Korean filmmakers have tailored fabric from international assets, leading to every thing from the Manchurian Western to The Host’s reinvention of the Godzilla mythos. 
Spanning a variety of genres, the publication introduces readers to classics from the Nineteen Fifties and Nineteen Sixties Golden Age of South Korean cinema, whereas supplying clean views on contemporary favorites like Oldboy and Thirst. ideal not just for fanatics of Korean movie, yet for someone concerned with media in an period of globalization, Movie Migrations will supply readers a brand new appreciation for the inventive act of cross-cultural version.

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Extra resources for Movie Migrations: Transnational Genre Flows and South Korean Cinema

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When she greets one, saying “Welcome home,” the soldier condescendingly responds “Thanks, ducky,” and exits. The camera dollies in to a close-­up of Myra’s face overwhelmed by shame and pathos. Looking blankly into the camera, her sad, trance-­like visage suddenly beams with a combination of shock and joy. The following shot cuts to several soldiers walking toward the camera along the platform, a stampeding crowd from which Roy emerges. The point-­of-­view immediately shifts to Roy, who spots Myra and rushes toward her, frantically calling her name.

28 The play’s setting is World War I. Myra is an expatriate American chorus girl who is stranded in London and enduring German air raids. After befriending Kitty, a cockney British prostitute, Myra—­penniless and desperate—­descends into a life of soliciting sexual bargains from GIs on furlough. The chorine-­turned-­prostitute soon falls in love with an innocent compatriot soldier enlisted in a Canadian regiment, Roy Cronin, who offers tender affection to Myra, mistaking her as a decent girl.

One can similarly cast doubt on the concept of mono no aware as being distinctively Japanese.  . a serene acceptance of a transient world” and by David Bordwell as “the pathos of things,”14 mono no aware is an underlying emotional chord struck in the meditative family melodramas of Ozu Yasujirō and other Japanese auteurs sensitive to quotidian poetics. It is tempting to argue that mono no aware is what distinguishes tranquil Japanese melodramas from their more emotionally intense South Korean counterparts.

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