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Generic Realities: The Transnational...

Cho, Michelle Hwang.

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Generic Realities: The Transnational Spaces of South Korean Cinema.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Generic Realities: The Transnational Spaces of South Korean Cinema./
作者:	Cho, Michelle Hwang.
面頁冊數:	208 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-08, Section: A, page: .
Contained By:	Dissertation Abstracts International72-08A.
標題:	Asian Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3457371
ISBN:	9781124677415

Generic Realities: The Transnational Spaces of South Korean Cinema.
Cho, Michelle Hwang.

Generic Realities: The Transnational Spaces of South Korean Cinema. - 208 p.

Source: Dissertation Abstracts International, Volume: 72-08, Section: A, page: .

Thesis (Ph.D.)--University of California, Irvine, 2011.

Generic Realities intervenes in debates on national cinemas by arguing that South Korean film of the last decade has contributed to national identity formation, not primarily through its explanatory force as historical narrative, but rather through systems of transnationally legible generic signification, particularly in the male-melodramatic modes of the Western, gangster, revenge, and martial arts action films, and the realist modes of first-person DV documentary. South Korean cinema's heightened dependence on genre form and intertextuality, alongside the growing penetration of visual representation in everyday life, has led to a situation in which external reality is increasingly experienced as an epiphenomenon of both realist and nonrealist modes of media representation, a claim that I develop in each of the chapters of the dissertation. Rushed into the information age and catapulted by the Asian financial crisis into the present embrace of neoliberal policies and politics, South Korean popular genre cinema has visualized fictional spaces in which generic elements structure sentiment as both intimate and collective, thereby allowing for the imagination of a shared national identity, which is at the same time grounded in a model of subjective interiority taken to be a hallmark of the universal, rational subject.

ISBN: 9781124677415Subjects--Topical Terms:

1669375
Asian Studies.

Generic Realities: The Transnational Spaces of South Korean Cinema.
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245 1 0 $a Generic Realities: The Transnational Spaces of South Korean Cinema.
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500 $a Source: Dissertation Abstracts International, Volume: 72-08, Section: A, page: .
500 $a Adviser: M. Ackbar Abbas.
502 $a Thesis (Ph.D.)--University of California, Irvine, 2011.
520 $a Generic Realities intervenes in debates on national cinemas by arguing that South Korean film of the last decade has contributed to national identity formation, not primarily through its explanatory force as historical narrative, but rather through systems of transnationally legible generic signification, particularly in the male-melodramatic modes of the Western, gangster, revenge, and martial arts action films, and the realist modes of first-person DV documentary. South Korean cinema's heightened dependence on genre form and intertextuality, alongside the growing penetration of visual representation in everyday life, has led to a situation in which external reality is increasingly experienced as an epiphenomenon of both realist and nonrealist modes of media representation, a claim that I develop in each of the chapters of the dissertation. Rushed into the information age and catapulted by the Asian financial crisis into the present embrace of neoliberal policies and politics, South Korean popular genre cinema has visualized fictional spaces in which generic elements structure sentiment as both intimate and collective, thereby allowing for the imagination of a shared national identity, which is at the same time grounded in a model of subjective interiority taken to be a hallmark of the universal, rational subject.
520 $a The paradox whose operations I track in Generic Realities is the fact that genre, in its assemblage of conventional, cliched, and seemingly reductive readiness-to-hand, serves a documentary function, insofar as it provides the only means available by which to express what is otherwise beyond representation, that is, the shifting meanings and identities that come into being in recombinant forms. Documentary film, on the flipside, seeks alternative systems of generic stability, as the foundations of the genre's first principle---the film image's indexical relationship to social reality---become unmoored. Thus, I argue that the genre films indicate, through their appeal to familiar genre conventions, the contradictions of South Korea's present circumstances in a manner that direct expression would not make possible. Conversely, documentary's capture of "reality" can only occur in its exposition of the failure of filmic objectivity to represent the complicated and heterogeneous lived experience of contemporary geopolitical realities.
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790 1 0 $a Kim, Kyung Hyun $e committee member
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