Publisher: Edinburgh University Press, 2017.
Link to online store *
From the publisher’s website:
A ground-breaking investigation into the film culture of colonial Korea
In this pioneering investigation into the seldom-studied film culture of colonial Korea (1910-1945), Dong Hoon Kim brings new perspectives to the associations between colonialism, modernity, film historiography and national cinema. By reconstructing the lost intricacies of colonial film history, Eclipsed Cinema explores under-investigated aspects of colonial film culture, such as the representational politics of colonial cinema, the film unit of the colonial government, the social reception of Hollywood cinema, and Japanese settlers’ film culture. Filling a significant void in Asian film history, Eclipsed Cinema greatly expands the critical and historical scopes of early cinema and Korean and Japanese film histories, as well as modern Asian culture, and colonial and postcolonial studies.
- Examines colonial Korean cinema at the critical junctures of Korean, Japanese and colonial cinemas
- Introduces a conceptual re-figuration of colonial cinema and a new historiographical method
- Explores historical figures, issues and stories of colonial Korean cinema that have not yet been discussed
List of Illustrations
INTRODUCING JOSEON CINEMA: THE QUESTION OF FILM HISTORY AND THE FILM CULTURE OF COLONIAL KOREA
THE BEGINNING: TOWARD A MASS ENTERTAINMENT
Film Culture Begins: The Development of Early Film Culture
Film Production Begins: Moving Picture Unit of the Office of the Governor-General
JOSEON CINEMA, CINEMATIC JOSEON: ON SOME CRITICAL QUESTIONS OF JOSEON CINEMA
Desperately Seeking the Joseon Image: Arirang (1926) and the Making of Joseon Film Aesthetics
Joseon Film Lyricism: Joseon Colour and Joseon Films ‘Exported’ to Japan
MIGRATING WITH THE MOVIES: JAPANESE SETTLER FILM CULTURE
The Formation and Characteristics of Settler Film Culture
‘A Film Practice Distinctly Joseon’: The Ethnic Segregation of Movie Theatres
COLONIAL FILM SPECTATORSHIP: NATIONALIST ENOUGH?
Korean Spectators or How They Learned to Stop Worrying and Love Hollywood
Performing Colonial Identity: The Transcolonial Practice of Byeonsa/Benshi
FILM SPECTATORSHIP AND THE TENSIONS OF MODERNITY
Modern Girls and Boys Go to the Movies: Cinema, Modernity, and the Colonised Nation
Mobility, Movie Theatres, and Female Film Spectatorship
INTEGRATING INTO THE IMPERIAL CINEMA
Entry on Goodreads.com here.
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