Movie Migrations: Transnational Genre Flows and South Korean Cinema

Movie Migrations: Transnational Genre Flows and South Korean Cinema

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Product Details

ISBN-13: 9780813569970
Publisher: Rutgers University Press
Publication date: 07/06/2015
Series: New Directions in International Studies Series
Edition description: New Edition
Pages: 306
Product dimensions: 6.10(w) x 9.10(h) x 1.10(d)
Age Range: 18 Years

About the Author


HYE SEUNG CHUNG is an associate professor of film and media studies in the department of communication studies at Colorado State University. She is the author of Hollywood Asian: Philip Ahn and the Politics of Cross-Ethnic Performance and Kim Ki-duk.
 
DAVID SCOTT DIFFRIENT is the William E. Morgan Endowed Chair of Liberal Arts and associate professor of film and media studies in the department of communication studies at Colorado State University. He is the author of Omnibus Films: Theorizing Transauthorial Cinema.
 

Table of Contents


Acknowledgments
Introduction: South Korean Cinema’s Transnational Trajectories
 
Part I   From Classical Hollywood to the Korean Golden Age: Cinephilia, Modernization, and Postcolonial Genre Flows
 
1   Toward a Strategic Korean Cinephilia: A Transnational Détournement of Hollywood Melodrama
2   The Mamas and the Papas: Cross-Cultural Remakes, Literary Adaptations, and Cinematic “Parent” Texts
3   The Nervous Laughter of Vanishing Fathers: Modernization Comedies of the 1960s
4   Once upon a Time in Manchuria: Classic and Contemporary Korean Westerns
 
Part II   From Cinematic Seoul to Global Hollywood: Cosmopolitanism, Empire, and Transnational Genre Flows
 
5   Reinventing the Historical Drama, De-Westernizing a French Classic: Genre, Gender, and the Transnational Imaginary in Untold Scandal
6   From Gojira to Goemul: “Host” Cities and “Post” Histories in East Asian Monster Movies
7   Extraordinarily Rendered: Oldboy, Transmedia Adaptation, and the US War on Terror
8   A Thirst for Diversity: Trends in Korean “Multicultural Films,” from Bandhobi to Where is Ronny?
 
Conclusion: Into “Spreadable” Spaces: Netflix, YouTube, and the Question of Cultural Translatability
Notes
Index
 

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