4/17/2023 0 Comments Csu timeplusThat film, Camp 14: Total Control Zone, is less skeptical of Shin’s testimony than Harden’s revised text, which nevertheless maintains that his subject’s life “is not fiction” while foregrounding the ethical dilemmas that he and other journalists face when trying to report facts that simply cannot be checked. Those admissions on the part of an ex-prisoner who still bears the physical and emotional scars of his past were made public in 2015, three years after the release of a feature-length documentary based on Harden’s book. more In the Foreword to the second edition of his 2012 profile of former North Korean prisoner Shin Dong-hyuk, whose harrowing escape from Kaechon internment camp drew the attention of human rights organizations around the world, American journalist Blaine Harden addresses recent revelations (made public three years after the publication of his book) that his subject had stretched the truth and misrepresented his actual experiences as the only known person to have been born in-and to have escaped from-such a place. In the Foreword to the second edition of his 2012 profile of former North Korean prisoner Shin Do. But historical return simply must be dramatized as part of the regurgitative ‘purging’ for which the genre has been singled out by theorists who recognize horror’s socially productive function. the Park Chung-hee ) and Chun Doo-hwan administrations). Historical return, I argue, truly is a horrifying prospect, especially for anyone old enough to remember, or to have experienced firsthand, the brutality of a military dictatorship or an ongoing abuse of presidential power resulting in severe rights violations (e.g. Specifically, I explore some of the most salient features of Korean horror cinema, including filmmakers' tendency to adopt narrative analepsis - typically rendered as flashbacks - in the course of plotting out scenarios that, though far-fetched, are rooted in unsettled (and unsettling) real-world problems. As such, the genre deserves scrutiny as a repository of previously pent-up, suddenly unleashed libidinal energies, consumerist desires and historical traumas, as well as a barometer of public opinion about such issues as class warfare, gender inequality and sexual identity. However, even the most cliché-ridden, shock-filled slasher films and ghost tales reveal the often-contradictory cultural attitudes of a populace that, over the past three generations, has weathered literally divisive transformations at the national and ideological levels. As a genre that has enormous box-office appeal and crossover potential for western audiences, horror might seem to be little more than a commercial platform for young film-makers to exploit popular tastes and cash in on derivative stories offering scant insight into the social conditions faced by modern-day Koreans. more This article examines some of the formal properties, stylistic motifs and thematic preoccupations of classic and contemporary South Korean horror films. This article examines some of the formal properties, stylistic motifs and thematic preoccupations. He is the former co-editor of the Journal of Japanese and Korean Cinema. He is the editor of Screwball Television: Critical Perspectives on Gilmore Girls (Syracuse University Press, 2010) and the author of M*A*S*H (Wayne State University Press, 2008), Omnibus Films: Theorizing Transauthorial Cinema (Edinburgh University Press, 2014), and (with Hye Seung Chung) Movie Migrations: Transnational Genre Flows and South Korean Cinema (Rutgers University Press, 2015), as well as a follow-up to the latter book entitled Movie Minorities: Transnational Rights Advocacy and South Korean Cinema. His articles have been published in Cinema Journal, Historical Journal of Film, Radio, and Television, Journal of Fandom Studies, Journal of Film and Video, Journal of Popular Film and Television, New Review of Film and Television Studies, Quarterly Review of Film and Video, Post Script, and Velvet Light Trap, as well as in several edited collections about film and television topics. Morgan Endowed Chair of Liberal Arts and Professor of Film and Media Studies in the Department of Communication Studies at Colorado State University. David Scott Diffrient is the former William E.
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