Decompressing modernity: South Korean time travel narratives and the IMF crisis

Cinema Journal

Volumn 46, Issue 4, 2007, Pages 45-67

  Martin Jones, David ^a  

^a UNIVERSITY OF ST ANDREWS   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 67649544675     PISSN: 00097101     EISSN: 15272087     Source Type: Journal    
DOI: 10.1353/cj.2007.0044     Document Type: Review

References (69)

1. Kyung Hyun Kim, The Remasculinization of Korean Cinema (Durham and London: Duke University Press, 2004), 203-32
2. Aaron Han Joon Magnan-Park, "Peppermint Candy: The Will Not to Forget"
3. Andrew Grossman and Jooran Lee, "Memento Mori and Other Ghostly Sexualities"
4. Hye Seung Chung and David Scott Different, "Interethnic Romance and Political Reconciliation in Asako in Ruby Shoes"; in New Korean Cinema, ed. Chi-Yun Shin and Julian Stringer (Edinburgh: Edinburgh University Press, 2005), 159-69; 180-92; 193-209
5. Chi-Yun Shin, "Two of a Kind: Gender and Friendship in Friend and Take Care of My Cat," in New Korean Cinema, ed. Chi-Yun Shin and Julian Stringer, 117-31
6. Kyung Hyun Kim, "Lethal Work: Domestic Space and Gender Troubles in Happy End and The Housemaid," in South Korean Golden Age Melodrama, ed. Kathleen McHugh and Nancy Abelmann (Detroit: Wayne State University Press, 2005), 201-28
7. Anthony Leong, Korean Cinema: The New Hong Kong (Victoria: Trafford Publishing, 2002), 117-54
8. Art Black, "Coming of Age: The South Korean Horror Film," in Fear Without Frontiers, ed. Steven Jay Schneider (London: FAB Press, 2003), 185-203, 190
9. David Martin-Jones, Deleuze, Cinema and National Identity (Edinburgh: Edinburgh University Press, 2006)
10. Chang Kyung-Sup, "Compressed Modernity and Its Discontents: South Korean Society in Transition," Economy and Society, 28, no. 1 (1999): 30-55, 30
11. For instance, Cho Han Hae-joang, "'You are trapped in an imaginary well': the formation of subjectivity within compressed development - a feminist critique of modernity and Korean culture," Inter Asia Cultural Studies, 1, no. 1 (2000): 49-69, 51
12. Hagen Koo, Korean Workers: The Culture and Politics of Class Formation (Ithaca: Cornell University Press, 2001)
13. Nancy Abelmann, The Melodrama of Mobility: Women, Talk and Class in Contemporary South Korea (Honolulu: University of Hawaii Press, 2003), 281-90
14. and Kathleen McHugh and Nancy Abelmann, "Introduction," in South Korean Golden Age Melodrama: Gender, Genre, and National Cinema, ed. Kathleen McHugh and Nancy Abelmann (Detroit: Wayne State University Press, 2005), 1-15, 5
15. Chang, "Compressed Modernity and Its Discontents," 48
16. Kathleen McHugh and Nancy Abelmann, "Introduction," in South Korean Golden Age Melodrama, ed. McHugh and Abelmann, 13
17. John Mercer and Martin Schingler, Melodrama: Genre, Style, Sensibility (London: Wallflower, 2004), 97
18. Abelmann, The Melodrama of Mobility, 23
19. Cho, "'You are trapped in an imaginary well,'" 51
20. See, for instance, Mark Jancovich, "Modernity and Subjectivity in The Terminator," The Velvet Light Trap, 30 (1992): 3-17
21. Mark Jancovich, Rational Fears (Manchester: Manchester University Press, 1996)
22. Michael Ryan and Douglas Kellner, "Technophobia," in Alien Zone, ed. Annette Kuhn (London: Verso, 1990), 5865
23. Susan J. Napier, "Panic Sites," in Contemporary Japan and Popular Culture, ed. John Whittier Treat (Richmond: Curzon, 1996), 235-62
24. Vivian Sobchack, "Cities on the Edge of Time: The Urban Science Fiction Film," Alien Zone II, ed. Annette Kuhn (London: Verso, 1999), 123-43
25. and Jonathan Bignell, "Another Time, Another Space: Modernity, Subjectivity and the Time Machine," Liquid Metal: The Science Fiction Film Reader, ed. Sean Redmond (London: Wallflower Press, 2004), 136-44
26. For a fuller discussion of this film see Magnan-Park, "Peppermint Candy: The Will Not to Forget"
27. and Martin-Jones, Deleuze, Cinema and National Identity, 205-19. In fact, Peppermint Candy was the ninth most popular domestic film at the box office in 2000, the same year that Ditto - released several months later - was seventh. Darcy Paquet, "2000," http://www.koreanfilm.org/kfilm00.html
28. Chang, "Compressed Modernity and Its Discontents," 31
29. Seungsook Moon, Militarized Modernity and Gendered Citizenship in South Korea (Durham and London: Duke University Press, 2005), 102
30. Laura Kendall, "Introduction," Under Construction: The Gendering of Modernity, Class and Consumption in the Republic of Korea, ed. Laura Kendall (Honolulu: University of Hawaii Press, 2002), 1-24, 17
31. Seungsook Moon, "The Production and Subversion of Hegemonic Masculinity," in Under Construction, ed. Kendall, 79-113, 79
32. Cho, "'You are trapped in an imaginary well,'" 63
33. As several commentators have noted, melodrama moves the spectator through its depiction of the inevitable. For Steve Neale in 1973, "poignancy and pathos" in the melodrama depended upon timing, the audience being moved to tears by their powerlessness in the face of the "temporal irreversibility" of the often tragic events in the narrative. See Steve Neale, "Melodrama and Tears," Screen 27, no. 6 (1986): 7-22, 8
34. Similarly, for Rosalind Galt in 2006, the "emotional effect" of melodramatic moments relies on a "realisation of the irreversibility of time and the futility of any desire to make it take a different route." See Rosalind Galt, The New European Cinema (New York: Columbia University Press, 2006), 43
35. Moon, Militarized Modernity, 68
36. Cho, "'You are trapped in an imaginary well,'" 62
37. Moon, "The Production and Subversion of Hegemonic Masculinity," 84
38. Kim Soyoung, "The birth of the local feminist sphere in the global era: 'trans-cinema' and Yosongjang," Inter-Asia Cultural Studies, 4 (2003): 1, 10-24, 17-18
39. Kendall, "Introduction," in Under Construction, ed. Kendall, 14
40. and, Moon, "The Production and Subversion of Hegemonic Masculinity," 80-81
41. Seungsook Moon, "Begetting the Nation," Dangerous Women: Gender and Korean Nationalism, ed. Elaine H. Kim and Chungmoo Choi (London: Routledge, 1998), 33-66, 53
42. Moon, Militarized Modernity, 158-59
43. So-hee Lee, "Female Sexuality in Popular Culture," Under Construction, ed. Kendall, 141-64, 158
44. Kim, "Lethal Work," 203
45. Haejoang Cho, "Living with conflicting Subjectivities," Under Construction, ed. Kendall, 165-95, 190
46. Grossman and Lee, "Memento Mori and Other Ghostly Sexualities," 188
47. The Butterfly Effect earned more in South Korea than it did "in bigger markets like the UK and France," Darcy Paquet, "A Growing Presence on the Global Stage," Screen International: South Korea Special, 1500 (2005): 1
48. Darcy Paquet, Korean Film Newsletter, 12 (2001), http://www.koreanfilm. org/news12 .html For its part, Calla was distributed by the Korean branch of Twentieth Century Fox and eventually obtained a limited VCD release in Hong Kong. See Jeeyoung Shin, "Globalisation and New Korean Cinema," in New Korean Cinema, ed. Chi-Yun Shin and Julian Stringer (Edinburgh: Edinburgh University Press, 2005), 51-62, 60; and Darcy Paquet, "Subtitled Films," http://www.koreanfilm.org/subtitles.html
49. Darcy Paquet, "Resurrection of the Korean Blockbuster," Screen International, 1422 (2003): 12-13
50. Chris Berry "What's Big About the Big Film?" in Movie Blockbusters, ed. Julian Stringer (London: Routledge, 2003), 224
51. Paquet, "Resurrection of the Korean Blockbuster," 13
52. Paquet, "A Growing Presence on the Global Stage," 1
53. Shin, "Globalisation and New Korean Cinema," 55
54. Leong, Korean Cinema, 13
55. Jinhee Kim, "Korean Cinema in Transformation," Korean Culture 23, no. 2 (2002): 4-9, 7
56. Jean Noh, "Pan-Asian Production Power," Screen International: Korea Special, 1548 (2006): 9
57. See, for instance, David Scott Diffrient, "Seoul as Cinematic Cityscape: Shiri and the Politico-Aesthetics of Invisibility," Asian Cinema 11, no. 3 (2000): 76-91, 80
58. Chris Berry, "What's Big About the Big Film?" 220
59. Soyoung Kim, "The birth of the local feminist sphere in the global era," 11
60. Anthony Leong, "Nowhere to Hide," in The Cinema of Japan and Korea, ed. Justin Bowyer and Jinhee Choi (London: Wallflower, 2004), 181-88, 183
61. and Shin, "Globalisation and New Korean Cinema," 52
62. Kyu Hyun Kim, "2009: Lost Memories," http://www.koreanfilm.Org/ kfilm02.html# lostmem
63. Jan Noh, "KOFIC to send Korean filmmakers overseas," Screen Daily Stories (April 19, 2006), htttp://www.screendaily.com/story.asp?storyid= 25878&tl=True (April 20, 2006)
64. Darcy Paquet, "Ditto," http://koreanfilm.org/kfilm00.html
65. Darcy Paquet, "International Production: Case Study 2009: Lost Memories," Screen International, 1347 (2002): 19
66. Darcy Paquet, Korean Film Newsletter, 13 (2002), http://www.koreanfilm. org/news14.html
67. and Darcy Paquet, Korean Film Newsletter, 14 (2002), http://www. koreanfilm.org/news13.html
68. Darcy Paquet, "2001," http://www.koreanfilm.org/kfilm01.html. The Screen Quota was reduced from 146 to 73 days in 2006; see Jean Noh, "Tackling the Pirates," Screen International: Korea Special, 1548 (2006): 12
69. For a brief history of representations of Korean resistance to Japanese colonial rule in South Korean action cinema, see Kim Soyoung, "Genre as Contact Zone: Hong Kong Action and Korean Hwalkuk," in Hong Kong Connections, ed. Meaghan Morris et al. (Durham and London: Duke University Press, 2005), 97-110