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Hye Seung
Cinema under National Reconstruction
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7006124Cinema under National Reconstructionhttps://www.gandhi.com.mx/cinema-under-national-reconstruction-9781978838734/phttps://gandhi.vtexassets.com/arquivos/ids/6546077/image.jpg?v=638635632076300000590819MXNRutgers University PressInStock/Ebooks/<p><em>Cinema under National Reconstruction</em> calls for a revisionist understanding of state film censorship during successive Cold War military regimes in South Korea (19611988). Drawing upon primary documents from the Korean Film Archives digitized database and framing South Korean film censorship from a transnational perspective, Hye Seung Chung makes the case that, while political oppression/repression existed inside and outside the film industry during this period, film censorship was not simply a tool for authoritarian dictatorship. Through such case studies as Yu Hyun-moks <em>The Stray Bullet</em> (1961), Ha Kil-jongs <em>The March of the Fools</em> (1975), and Yi Chang-hos <em>Declaration of Fools</em> (1983), the author defines censorship as a dialogical process of cultural negotiations wherein the state, the film industry, and the public fight out a battle over the definitions and functions of national cinema. In the context of Cold War Korea, one cannot fully understand or construct film history without reassessing censorship as a productive feedback system where both state regulators and filmmakers played active roles in shaping the new narrative or sentiment of the nation on the big screen.</p>...6677789Cinema under National Reconstruction590819https://www.gandhi.com.mx/cinema-under-national-reconstruction-9781978838734/phttps://gandhi.vtexassets.com/arquivos/ids/6546077/image.jpg?v=638635632076300000InStockMXN99999DIEbook20249781978838734_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9781978838734_<p><em>Cinema under National Reconstruction</em> calls for a revisionist understanding of state film censorship during successive Cold War military regimes in South Korea (19611988). Drawing upon primary documents from the Korean Film Archives digitized database and framing South Korean film censorship from a transnational perspective, Hye Seung Chung makes the case that, while political oppression/repression existed inside and outside the film industry during this period, film censorship was not simply a tool for authoritarian dictatorship. Through such case studies as Yu Hyun-moks <em>The Stray Bullet</em> (1961), Ha Kil-jongs <em>The March of the Fools</em> (1975), and Yi Chang-hos <em>Declaration of Fools</em> (1983), the author defines censorship as a dialogical process of cultural negotiations wherein the state, the film industry, and the public fight out a battle over the definitions and functions of national cinema. In the context of Cold War Korea, one cannot fully understand or construct film history without reassessing censorship as a productive feedback system where both state regulators and filmmakers played active roles in shaping the new narrative or sentiment of the nation on the big screen.</p>...9781978838734_Rutgers University Presslibro_electonico_9781978838734_9781978838734Hye SeungInglésMéxico2024-11-15T00:00:00+00:00https://getbook.kobo.com/koboid-prod-public/uofchicagopress-epub-b972bf6f-7c8d-435e-8f79-d4b049a4e795.epub2024-11-15T00:00:00+00:00Rutgers University Press