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<body class='hmmessage'><div dir='ltr'><div class="_3dp _29k"><div><div class="_6a"><div class="_6a _6b"><h5 class="_5pbw" data-ft='{"tn":"C"}'><div class="fwn fcg"> </div><div class="fwn fcg">Dear Colleagues,</div></h5></div></div></div></div><div class="_5pbx userContent" data-ft='{"tn":"K"}'>A new book on South Korean cinema, MOVIE MIGRATIONS: TRANSNATIONAL GENRE FLOWS AND SOUTH KOREAN CINEMA (Rutgers University Press, 2015), has just been published and is available at Amazon. You can receive a 20% discount (with free shipping) if you use the code 02AAAA11 at online@rutgerspress.rutgers.edu. Thanks for sharing this news and helping me promote the book. <BR> <BR>Hye Seung Chung, Ph.D.<BR>Associate Professor of Film and Media Studies<BR>Department of Communication Studies<BR>Colorado State University<BR> <BR> <BR><strong><em>Movie Migrations: Transnational Genre Flows and South Korean Cinema </em> </strong><br>Hye Seung Chung and David Scott Diffrient<BR> <BR><h4 style="padding-top: 0px; margin-top: 0px;">Description</h4><div><div><div>As the two billion YouTube views for “Gangnam Style” would indicate, South Korean popular culture has begun to enjoy new prominence on the global stage. Yet, as this timely new study reveals, the nation’s film industry has long been a hub for transnational exchange, producing movies that put a unique spin on familiar genres, while influencing world cinema from Hollywood to Bollywood. </div><div> </div><div><i>Movie Migrations</i> is not only an introduction to one of the world’s most vibrant national cinemas, but also a provocative call to reimagine the very concepts of “national cinemas” and “film genre.” Challenging traditional critical assumptions that place Hollywood at the center of genre production, Hye Seung Chung and David Scott Diffrient bring South Korean cinema to the forefront of recent and ongoing debates about globalization and transnationalism. In each chapter they track a different way that South Korean filmmakers have adapted material from foreign sources, resulting in everything from the Manchurian Western to <i>The Host</i>’s reinvention of the Godzilla mythos. </div><div> </div><div>Spanning a wide range of genres, the book introduces readers to classics from the 1950s and 1960s Golden Age of South Korean cinema, while offering fresh perspectives on recent favorites like <i>Oldboy</i> and <i>Thirst</i>. Perfect not only for fans of Korean film, but for anyone curious about media in an era of globalization, <i>Movie Migrations</i> will give readers a new appreciation for the creative act of cross-cultural adaptation. </div><div> </div></div></div><div id="ctl00_MainContent_ProductInfo1_ctl00_divReviewsHeader"><h4>Praise</h4></div><div><div>"<i>Movie Migrations</i> offers insightful readings of the deep connections between Korean and foreign films. A model of transnational scholarship, it will revitalize genre studies."</div>—Christina Klein, author of Cold War Orientalism<br><br><div>"A magnificent service to the scholarly analysis of South Korean cinema. This book is insightful, eloquent, and fully engaged. It has been researched and written with tremendous rigour and commitment."</div>—Julian Stringer, University of Nottingham<br></div><div id="ctl00_MainContent_ProductInfo1_ctl00_divAboutAuthor"><h4>Author / Editor Bio</h4></div><div><div>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 <i>Hollywood Asian: Philip Ahn and the Politics of Cross-Ethnic Performance</i> and <i>Kim Ki-duk</i>.</div><div> </div><div>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 <i>Omnibus Films: Theorizing Transauthorial Cinema</i>.</div><div> </div></div><div> </div><div><strong>Table Of Contents</strong></div><div><div>Acknowledgments</div><div>Introduction: South Korean Cinema’s Transnational Trajectories<br> </div><div>Part I From Classical Hollywood to the Korean Golden Age: Cinephilia, Modernization, and Postcolonial Genre Flows<br> </div><div>1 Toward a Strategic Korean Cinephilia: A Transnational <i>Détournement</i> of Hollywood Melodrama</div><div>2 The Mamas and the Papas: Cross-Cultural Remakes, Literary Adaptations, and Cinematic “Parent” Texts</div><div>3 The Nervous Laughter of Vanishing Fathers: Modernization Comedies of the 1960s</div><div>4 Once upon a Time in Manchuria: Classic and Contemporary Korean Westerns<br> </div><div>Part II From Cinematic Seoul to Global Hollywood: Cosmopolitanism, Empire, and Transnational Genre Flows<br> </div><div>5 Reinventing the Historical Drama, De-Westernizing a French Classic: Genre, Gender, and the Transnational Imaginary in <i>Untold Scandal</i></div><div>6 From <i>Gojira</i> to <i>Goemul</i>: “Host” Cities and “Post” Histories in East Asian Monster Movies</div><div>7 Extraordinarily Rendered: <i>Oldboy</i>, Transmedia Adaptation, and the US War on Terror</div><div>8 A <i>Thirst</i> for Diversity: Trends in Korean “Multicultural Films,” from <i>Bandhobi</i> to <i>Where is Ronny?</i><br> </div><div>Conclusion: Into “Spreadable” Spaces: Netflix, YouTube, and the Question of Cultural Translatability</div><div>Notes</div><div>Index</div></div></div> </div></body>
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