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Informationen zum Autor Dong Hoon Kim is Assistant Professor in East Asian Languages and Literatures and a member of the committee on Cinema Studies at the University of Oregon. Klappentext 'Innovative! Dong Hoon Kim goes beyond the national cinema approach by using both Japanese and Korean texts and examining the multicultural/multiethnic formation of the Korean film culture during the colonial period. Eclipsed Cinema is a must read for all who are interested in the history of East Asian cinemas.' Daisuke Miyao, University of California, San Diego In this groundbreaking investigation into the seldom-studied film culture of colonial Korea (1910-45), 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, the book 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. Dong Hoon Kim is Assistant Professor in East Asian Languages and Literatures and a member of the committee on Cinema Studies at the University of Oregon. Cover image: Joseon Geukjang, a Paramount-contracted movie theatre located in Seoul, Exhibitors Herald, 16.22, 26 May 1923 Cover design: [EUP logo] edinburghuniversitypress.com ISBN 978-1-4744-2180-5 Barcode Zusammenfassung Eclipsed Cinema explores the 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 in relation to emerging Korean nationalism! Japanese settlers'film culture! and gendered film spectatorship. Inhaltsverzeichnis List of Illustrations Acknowledgements INTRODUCTIONINTRODUCING JOSEON CINEMA: THE QUESTION OF FILM HISTORY AND THE FILM CULTURE OF COLONIAL KOREA CHAPTER 1 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 CHAPTER 2JOSEON 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 CHAPTER 3MIGRATING 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 CHAPTER 4COLONIAL 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 CHAPTER 5FILM SPECTATORSHIP AND THE TENSIONS OF MODERNITYModern Girls and Boys Go to the Movies: Cinema, Modernity, and the Colonised Nation Mobility, Movie Theatres, and Female Film Spectatorship CONCLUSION INTEGRATING INTO THE IMPERIAL CINEMA Appendix Bibliography ...
