The Cinema of Japan and Korea. Ed. Justin Bowyer. London & New York: Wallflower Press (24 Frames), 2004. xiii + 258 pp. £50 (hardback); £18.99 (paperback). ISBN 1–904764–12–6/11–8
The Cinema of Japan and Korea. Ed. Justin Bowyer. London & New York: Wallflower Press (24 Frames), 2004. xiii + 258 pp. £50 (hardback); £18.99 (paperback). ISBN 1–904764–12–6/11–8
This collection of texts on 24 seminal films from Japan and Korea promises to be a must-read reference for those who are interested in the development of the national cinemas of both countries. The editor's case for featuring them together is based on their complementary yet conflicting histories. We have 13 Japanese and 11 Korean films discussed individually and in chronological order, rather than under national subheadings. Discussions range from the account of the two national cinemas' form and narrative structures to the appreciation of individual filmmakers' film style. There are essays on the Japanese film industry in the 1920s, focusing on Kinugasa Teinosuke's A Page of Madness (1926); on Shin Sang-ok's The Guest and My Mother (1961), as an exemplary work of the “classical” period of Korean cinema; and on fresh readings of well-known films such as Takashi Miike's Audition (2000) and Pak Chan-wook's Joint Security Area (2000). This book is successful in introducing readers to a wide spectrum of Japanese and Korean films and in offering new insights into the specificities of these two national cinemas.
461
Cheung, Ruby
e26fd6cf-1c3f-4d63-82ad-aa82b4715c28
1 October 2006
Cheung, Ruby
e26fd6cf-1c3f-4d63-82ad-aa82b4715c28
Cheung, Ruby
(2006)
The Cinema of Japan and Korea. Ed. Justin Bowyer. London & New York: Wallflower Press (24 Frames), 2004. xiii + 258 pp. £50 (hardback); £18.99 (paperback). ISBN 1–904764–12–6/11–8.
Forum for Modern Language Studies, 42 (4), .
(doi:10.1093/fmls/cql083).
Abstract
This collection of texts on 24 seminal films from Japan and Korea promises to be a must-read reference for those who are interested in the development of the national cinemas of both countries. The editor's case for featuring them together is based on their complementary yet conflicting histories. We have 13 Japanese and 11 Korean films discussed individually and in chronological order, rather than under national subheadings. Discussions range from the account of the two national cinemas' form and narrative structures to the appreciation of individual filmmakers' film style. There are essays on the Japanese film industry in the 1920s, focusing on Kinugasa Teinosuke's A Page of Madness (1926); on Shin Sang-ok's The Guest and My Mother (1961), as an exemplary work of the “classical” period of Korean cinema; and on fresh readings of well-known films such as Takashi Miike's Audition (2000) and Pak Chan-wook's Joint Security Area (2000). This book is successful in introducing readers to a wide spectrum of Japanese and Korean films and in offering new insights into the specificities of these two national cinemas.
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Published date: 1 October 2006
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Local EPrints ID: 498481
URI: http://eprints.soton.ac.uk/id/eprint/498481
ISSN: 0015-8518
PURE UUID: 9971acb7-e15b-47c9-a16f-3777f2050f4a
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Date deposited: 19 Feb 2025 18:17
Last modified: 20 Feb 2025 02:49
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