[KS] Call For Papers –Sino-Korean Screen Relations

[Barbara Wall]

Call For Papers – Sino-Korean Screen Relations at UCLan, UK, 16-17 January
2020



We invite papers on the topic of Sino-Korean Screen Relations for a
symposium on 16-17th January 2020. The Confucius Institute funded symposium
will bring together scholars of Film, TV and Screen Media Studies to
explore historical and contemporary relations between Sinophone and
Korean-language screen media. It will take place at the University of
Central Lancashire, Preston, UK, (close to the Lake District, Manchester
and Liverpool). Accommodation, refreshments and limited post-grad travel
subsidies will be provided to selected presenters. We particularly welcome
papers from scholars from across the Sinophone and Koran-language cultural
centres and diasporas.  Selected papers will be offered publication
opportunities in an edited collection. The language of the symposium will
be English.

‘Sino-Korean screen relations’ is a significant and under-studied research
area. It includes relations between the two largest and most influential
contemporary screen media spheres in the East Asian region. However, the
emphasis on *relations *gestures beyond the concept of distinct Sinophone
and Korean-language spheres of cultural (re)production, and beyond dominant
national ideologies and nation-based media historiography. Instead, it
re-conceptualises Sino-Korean screen media as intricately interlinked
through diverse yet disjunctive webs of historical and contemporary
relationships. These encompass Trans-Asian human, media, format, finance
and technology flows; state, industrial, and (inter)textual relations of
similarity, difference, collaboration and competition; and relations of
connection, appropriation, exclusion and ‘othering’. Concomitantly, the
formulation of ‘Sinophone’ and ‘Korean-language’ encompasses all media in
Chinese dialects, as well as Korean-language media produced by North and
South Koreans, Korean Chinese and other diasporic Korean cultures. This
symposium builds on growing body of literature around Sino-Korean screen
relations. Soyoung Kim’s 2006 article highlights Hong Kong-Korean location
shooting practices. Building on this in his 2016 paper, Chris Berry calls
for a transnational cinema research project that transcends the
methodologies and ideologies of both nationalism and globalisation by
tracing the history of ‘disjunctive and discontinuous’ connections between
Sino-Korean screen media. While contributing to this project, the symposium
also seeks to explore the networks of contemporary Sino-Korea screen
relations. Whilst augmenting existing research trajectories on reception
(e.g. Lu Chen 2019), production and co-production (e.g. Jin 2016; Jin and
Su 2019), and regional circulations (e.g. Chua Beng Huat 2012), the
symposium particularly welcomes papers that explore the mutually
constitutive effects of Sino-Korean screen relations on
Sinophone/Korean-langue texts. In short, what effect do the two cultural
spheres have on each other? For example, how does production with Sinophone
audiences in mind impact South Korean tv dramas, and how do PCR TV shows
adapt to the popularity of South Korean imports?



In line with its explicit focus on the implications of such
interconnectivities across the history of Sino-Korean screen media, the
symposium invites papers and panels on any relations between Sinophone and
Korean-language media. These could include, but are not limited to, the
following:

·        The impact of Chinese markets on Korean screen media.

·        The impact of Korean screen media on Chinese media production.

·        Unequal flows of media, such as TV drams, between Sinophone and
Korean-language spheres.

·        Constructions of Korean, Chinese and Korean Chinese people in
Korean and Chinese screen media.

·        Korean Chinese film and screen media produced in China and Korea.

·        Images of Korean Chinese in Chinese and Korean media

·        Media by and/or about North Koreans in China

·        Unequal global image flows, such as the relatively greater number
of images of Chinese people in South Korean films than of Koreans in
Chinese films.

·        Trans-border production practices, such as Koreans working in
1960-70s Hong Kong

·        Reception issues, such as screenings of South Korean film in 1960s
Taipei, or North Korean films in 1960-70s Beijing.

·        Korean-Language and Sinophone live-streaming media.

·        Queer screen cultures in the Korean-language and Sinophone spheres.

·        North/South Korean and Chinese memories of the Korean War in Film

·        The regional circulation of stars and idols from diverse Korean
and Sinophone popular culture industries.

·        Sinophone/Korean TV formats.

·        Sino-Korean co-productions in any screen media.

·        Comparisons between ‘New Wave’ cinemas in different
Korean/Sinophone cultures.

·        Constructions of local landscapes in Korean, Cantonese, Mandarin
and Hokkien/Fujian films.

·        Manchuria in Chinese and Korean cinema history.

·        Representations of Japanese in North/South Korean and Sinophone
cinemas.

·        Sino-Korean genre relations, especially in martial arts and
gangster films.

·        Sinophone and Korean-language documentary practices.

·        Anime relations

·        Sino-Korean human relations in screen media production.

·        Imperial-era Sino-Korean ([Tang, Yuan, Ming, Qin]-[Choseon, Koryo,
Shilla]) relations in Korean and Sinophone film.



Please send abstracts (250 words) and short bio (100 words) to
Sino-Korean at uclan.ac.uk (or mplaice at uclan.ac.uk) by 7th November 2019.
Selected papers will be informed by 15th November 2019. Full papers (max
6000 words Chicago Reference style) should be sent by 6th January 2019. For
more information, please visit: https://www.uclan.ac.uk/confucius/news.php
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