[KS] Korean Cinema in a Transnational Context – Chinese-Korean Connections and Beyond

[Afostercarter at aol.com]

Dear all,
 
I have pleasure in forwarding details of what looks to be a
fascinating forthcoming conference in Seoul.
(nb I'm just the postie. Contact eddresses are  within/below.)
 
Kind regards
Aidan FC
 
 
Aidan  Foster-Carter 
Honorary Senior Research Fellow in  Sociology & Modern Korea, Leeds 
University, UK 
E: _afostercarter at aol.com_ (mailto:afostercarter at aol.com)      
_afostercarter at yahoo.com_ (mailto:afostercarter at yahoo.com)    W: _www.aidanfc.net_ 
(http://www.aidanfc.net/)     
Skype:  Aidan.Foster.Carter                          Twitter:  @fcaidan    


 
  
____________________________________
 .
 
From: Announcement list for the British  Association of Film, Television 
and Screen Studies [_BAFTSS at JISCMAIL.AC.UK_ (mailto:BAFTSS at JISCMAIL.AC.UK) ] 
on behalf of  Berry, Chris [_chris.berry at KCL.AC.UK_ 
(mailto:chris.berry at KCL.AC.UK) ]
Sent: 07 September 2013  09:45
To: _BAFTSS at JISCMAIL.AC.UK_ (mailto:BAFTSS at JISCMAIL.AC.UK) 
Subject: CFP:Korean Cinema in a Transnational  Context – Chinese-Korean 
Connections and Beyond




 
 
 


 
 
Korean Cinema in a Transnational Context –  Chinese-Korean Connections and 
Beyond 
When not researched as  national cinema, Korean cinema has been most often 
studied as South Korean  cinema's relation to former colonialist and 
contemporary rival Japan or the  big Other of Hollywood. But Korean Cinema in a 
Transnational Context is  multiple and rhizomatic. It is both North and South 
Korean, and its  connections move in many other less-explored directions. In 
this research  programme, we open up a more neglected seam: Korean cinemas, 
their various  Chinese connections, and beyond along the socialist and 
post-socialist route  into the former Soviet Union and the new states that have 
been born from  it. 
Organizing committee: 
Kim Soyoung (Korean National University of  Arts) 
Chris Berry (Kings College, London) 
Earl Jackson (National Chiao Tung Univ. Co-director  of Trans Asia Screen 
Culture Institute) 
Venue: Trans Asia Screen Culture Institute,  Seoul, Korea 
Dates: Jan 10-12, 2014 
Project 1: 
“Sino-Korean Film Connections and Beyond: A History in  Fragments” 
Chinese-Korean Film  Connections have existed since the early days of 
cinema. However, they are  little known and often overlooked. The tumultuous and 
disjunctive history of  the twentieth century has made it impossible to 
subsume these connections into  any linear histories of the development of 
particular industries. In this  transnational framework, we hope to recover these 
connections and compose them  as a genealogical history of fragments, 
marked by disjuncture. Some of the  connections we have in mind include: 
·         The exhibition  of North Korean films in the People's Republic of 
China during the Cultural  Revolution decade (1966 to 1976) 
·         South Korean  directors in Hong Kong in the 1960s and 70s, esp. 
Cheng Chang-ho/Chung  Chang-hwa 
·         King Hu's use of  Korean locations to stand in for ancient China 
·         Chinese-Koreans,  Yanbian, and Koreans from the former Soviet 
republics in contemporary Korean  cinema 
·         K-dramas'  popularity in Chinese-speaking territories over the 
last decade 
·         The Korean  filmmaking exile community in Shanghai in the 1930s, 
including leading male  star Jin Yan/Kim Yom 
·         Bruce Lee as a  generative force in Korean action cinema. 
·         Hong Kong noir's  impact on the formation of Korean noir in the 
1990s 
·         Koreans working  in the Man'ei Studio in Manchukuo in the 1930s 
·         Zhao Liang's  documentaries on the North Korean-Chinese border 
·         The opening of  Lou  Ye's Summer Palace on the Tumen/Dooman River 
·         Co-productions  (historical and recent): Hong Kong, China, 
Taiwan, South Korean, North Korea,  and the former Soviet Union and successor 
states 
·         Man'ei's  connection to North Korean film production 
·         PRC-North Korea  co-productions in th 1950s and 60s 
·         Ri Koran/Li  Xianglan/Yamaguchi Yoshiko/Shirley Yamaguchi/Okada 
Yoshiko acting in a film  made in Korea, as well asSayon's Bell (Taiwan) and 
Eternal Fame (Shanghai) 
·         The finding of  “lost” Korean films in Chinese film archives and 
Mosfilm archives 
·         The televising  foreign films in North Korean, including Chinese 
films 
·         The role of  Koreans in Shanghai-Man'ei connections 
·         The popularity  of South Korean melodrama films in 1960s Taiwan 
·         North  Korean-Chinese animation co-productions 
·         Depictions of  the Korean War in PRC films 
We seek to build an online archive of fragments and to  produce a volume of 
scholarship on this topic. Are you aware of traces of  these and other 
fragments? Would you like to tell us about them, or to send us  PDFs and 
photographs of material to be shared with other academics? We will  build an online 
archive to house these materials. 
Please contact us at: _transarchive2014 at gmail.com_ 
(mailto:transarchive2014 at gmail.com)  
Are you writing on one of these topics? Would you like to  give a paper and 
contribute to an edited volume? We plan to hold a conference  on this topic 
in January 2014, and then edit a book or a special issue of a  journal 
based on the papers. Please send us your title and a 250-word abstract  by 30 
September to: 
_transarchive2014 at gmail.com_ (mailto:transarchive2014 at gmail.com)  
Project 2: 
“Zhang Lu—Nomad Cinema of China and Korea” 
Born in China of Korean  parents, Zhang Lu has made films in Beijing (Tang 
Poetry); North China  (Grain in Ear); Mongolia (Hyazgar, a.k.a.Desert 
Dream);  Iksan (Iri,South Korea); Chongqing; on the  Chinese-North Korean border 
(Dooman River; Ansan and Garipong  (Landscape); and Kyongju. Over a decade of 
 nomadic filmmaking, he has established himself as an auteur of minor  
transnationalism. He himself considers his practice to be “internationalist.”  
To mark his achievement, we plan a conference in Seoul in early January 
2014,  followed by either a book or a special issue of a journal. If you are  
interested in taking part in this project, please send us the proposed title  
of your paper and a 250-word abstract by 30 September to: 
_transcinema2014 at gmail.com_ (mailto:transcinema2014 at gmail.com)  
Chris Berry and Kim Soyoung 

Professor Chris  Berry
Dept. of Film Studies
King's College London
Strand,  London
WC2R  2LS
UK

44-(0)207-848-1158








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