<html xmlns:v="urn:schemas-microsoft-com:vml" xmlns:o="urn:schemas-microsoft-com:office:office" xmlns:w="urn:schemas-microsoft-com:office:word" xmlns:m="http://schemas.microsoft.com/office/2004/12/omml" xmlns="http://www.w3.org/TR/REC-html40"><head><meta http-equiv=Content-Type content="text/html; charset=gb2312"><meta name=Generator content="Microsoft Word 14 (filtered medium)"><style><!--
/* Font Definitions */
@font-face
{font-family:"MS Mincho";
panose-1:2 2 6 9 4 2 5 8 3 4;}
@font-face
{font-family:Batang;
panose-1:2 3 6 0 0 1 1 1 1 1;}
@font-face
{font-family:PMingLiU;
panose-1:2 2 5 0 0 0 0 0 0 0;}
@font-face
{font-family:PMingLiU;
panose-1:2 2 5 0 0 0 0 0 0 0;}
@font-face
{font-family:"Malgun Gothic";
panose-1:2 11 5 3 2 0 0 2 0 4;}
@font-face
{font-family:Tahoma;
panose-1:2 11 6 4 3 5 4 4 2 4;}
@font-face
{font-family:"\@Malgun Gothic";
panose-1:2 11 5 3 2 0 0 2 0 4;}
@font-face
{font-family:"\@Batang";
panose-1:2 3 6 0 0 1 1 1 1 1;}
@font-face
{font-family:"\@PMingLiU";
panose-1:2 2 5 0 0 0 0 0 0 0;}
@font-face
{font-family:"\@MS Mincho";
panose-1:2 2 6 9 4 2 5 8 3 4;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{margin:0in;
margin-bottom:.0001pt;
font-size:12.0pt;
font-family:"Times New Roman","serif";
color:black;}
a:link, span.MsoHyperlink
{mso-style-priority:99;
color:blue;
text-decoration:underline;}
a:visited, span.MsoHyperlinkFollowed
{mso-style-priority:99;
color:purple;
text-decoration:underline;}
p.MsoAcetate, li.MsoAcetate, div.MsoAcetate
{mso-style-priority:99;
mso-style-link:"Balloon Text Char";
margin:0in;
margin-bottom:.0001pt;
font-size:8.0pt;
font-family:"Tahoma","sans-serif";
color:black;}
span.EmailStyle17
{mso-style-type:personal-reply;
font-family:"Calibri","sans-serif";
color:#1F497D;}
span.BalloonTextChar
{mso-style-name:"Balloon Text Char";
mso-style-priority:99;
mso-style-link:"Balloon Text";
font-family:"Tahoma","sans-serif";
color:black;}
.MsoChpDefault
{mso-style-type:export-only;
font-size:10.0pt;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.0in 1.0in 1.0in;}
div.WordSection1
{page:WordSection1;}
--></style><!--[if gte mso 9]><xml>
<o:shapedefaults v:ext="edit" spidmax="1026" />
</xml><![endif]--><!--[if gte mso 9]><xml>
<o:shapelayout v:ext="edit">
<o:idmap v:ext="edit" data="1" />
</o:shapelayout></xml><![endif]--></head><body bgcolor=white lang=EN-US link=blue vlink=purple><div class=WordSection1><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><span style='font-size:11.0pt'>The fifth </span><span style='font-size:11.0pt;color:windowtext'>issue of the Institute of East Asian Studies’ interactive </span><span style='font-size:11.0pt'>e-journal "Cross-Currents: East Asian History and Culture Review" is available online. This is a special issue dedicated to the theme of "<b>Transcolonial Film Coproductions in the Japanese Empire: Antinomies in the Colonial Archive" </b>(guest edited by Takashi Fujitani (U Toronto) and Nayoung Aimee Kwon (Duke University).</span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><o:p> </o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><i><span style='font-size:11.0pt'>Cross-Currents: East Asian History and Culture Review</span></i><span style='font-size:11.0pt'><br>*************************************************************** <br>December 2012 e-journal <br><br>(See <a href="http://cross-currents.berkeley.edu/e-journal/issue-5">http://cross-currents.berkeley.edu/e-journal/issue-5</a>)</span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><o:p> </o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><span style='font-size:11.0pt'>Special Theme: <b>Transcolonial Film Coproductions in the Japanese Empire: Antinomies in the Colonial Archive</b></span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><span style='font-size:11.0pt'><br>Guest editors: <b>Takashi Fujitani (U Toronto) and Nayoung Aimee Kwon (Duke)</b></span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><span style='font-size:11.0pt'><br>Introduction (Takashi Fujitani and Nayoung Aimee Kwon)</span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><u><span style='font-size:11.0pt'><br></span></u><span style='font-size:11.0pt'>Collaboration, Coproduction, and Code-Switching: Colonial Cinema and Postcolonial Archaeology (Nayoung Aimee Kwon)</span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><span style='font-size:11.0pt'><br>One Film, or Many?: The Multiple Texts of the Colonial Korean Film <i>Volunteer </i>(Jaekil Seo)</span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><o:p> </o:p></p><p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><span style='font-size:11.0pt'>Subverting Ethnic Hierarchy?: The Film <i>Suicide Squad at the Watchtower</i> and Colonial Korea (Naoki Mizuno)<br><u><br></u>The Colonial and Transnational Production of <i>Suicide Squad at the Watchtower</i> and <i>Love and the Vow</i> (Naoki Watanabe)<br><br>Between Ideology and Spectatorship: The “Ethnic Harmony” of the Manchuria Motion Picture Corporation, 1937–1945 (Sookyeong Hong)<br><br> Negotiating Colonial Korean Cinema in the Japanese Empire: From the Silent Era to the Talkies, 1923-1939 (Chonghwa Chung)<br><u><br>Review Essays, Notes & Bibliographies </u></span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><o:p> </o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><span style='font-size:11.0pt'>Re-envisioning the Chinese Cityscape: Tabula Rasa and Palimpsest (Jie Li)</span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><span style='font-size:11.0pt'><br>Governmentality in Late Colonial Korea? (Henry Em)</span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><u><span style='font-size:11.0pt'><br>Photo Essay</span></u><span style='font-size:11.0pt'><br><br></span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><i><span style='font-size:11.0pt'> <br></span></i><span style='font-size:11.0pt'>A Pictorial History of Changchun, 1898-1962 (Xinying Wang and Yishi Liu)<br><br><br></span><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><u><span style='font-size:11.0pt'>Readings from Asia</span></u><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:.1pt;margin-right:0in;margin-bottom:.1pt;margin-left:0in;mso-margin-top-alt:.01gd;mso-para-margin-right:0in;mso-para-margin-bottom:.01gd;mso-para-margin-left:0in;line-height:12.0pt;background:white'><b><span style='font-size:11.0pt'> <br><br></span></b><o:p></o:p></p><p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><span style='font-size:10.0pt;color:#222222'>Review of Huang Xingtao </span><span lang=KO style='font-size:10.0pt;font-family:"MS Mincho";color:#222222'>黄</span><span lang=KO style='font-size:10.0pt;font-family:"PMingLiU","serif";color:#222222'>兴涛</span><span style='font-size:10.0pt;color:#222222'>: “Ta” zi de wenhua shi "</span><span lang=KO style='font-size:10.0pt;font-family:"MS Mincho";color:#222222'>她</span><span style='font-size:10.0pt;color:#222222'>”</span><span lang=KO style='font-size:10.0pt;font-family:"Batang","serif";color:#222222'>字的文化史</span><span style='font-size:10.0pt;color:#222222'> [The cultural history of feminine pronoun “ta”] (Gang Zhao)</span> <o:p></o:p></p></div></body></html>