Jinhee Choi – författare

Considered by many film critics and scholars as a master of Japanese Cinema, director Ozu Yasujiro still inspires filmmakers both within and outside of Japan. This book presents new perspectives on Ozu's aesthetic sensibility and his influence on global art cinema directors. With twenty never before published chapters by contributors from the US, England, and Japan, The Cinema of Ozu explores the Japanese director's oeuvre and his lasting impact on global art cinema. Divided into three sections, this edited volume highlights several of the major theoretical frameworks that have come to characterize studies devoted to the director. In doing so, chapters consider the various cultural factors that influenced the director's cinematic output, such as the anxiety of middleclass Japan in the 1930s, the censorship imposed by the US-occupation after World War II, and women's rights in 1957's Tokyo Story. Ultimately, chapters illuminate Ozu's influence on the directors of Japan and beyond. With the recent restoration and re-release of Ozu's early and late work, this volume provides an opportunity to examine not only the auteur's major works but also the relationships-both cultural and aesthetic-that are forged among directors across the world.

Considered by many film critics and scholars as a master of Japanese Cinema, director Ozu Yasujiro still inspires filmmakers both within and outside of Japan. With fifteen never before published chapters in English by contributors from North America, Europe, and Japan, Reorienting Ozu explores the Japanese director's oeuvre and his lasting impact on global art cinema. Exploring major theoretical frameworks that characterize Ozu studies, chapters consider the various cultural factors that influenced the director's cinematic output, such as the anxiety of middleclass Japan in the 1930s, the censorship imposed by the US-occupation after World War II, and women's rights in Ozu's late work such as Tokyo Twilight (1957). Ultimately, chapters illuminate Ozu's influence on the directors of Japan and beyond. With the recent restoration and re-release of Ozu's early and late films, this volume provides an opportunity to examine not only the auteur's major works but also the relationshipsboth cultural and aestheticthat are forged among directors across the world.

Forever Girls explores girlhood manifest in contemporary South Korean cinema within the conflicting socio-political forces that shaped the nation: coloniality, postcolonial and postwar traumas, modernity, and democracy. Author Jinhee Choi reorients the direction of current scholarship on contemporary South Korean cinema from patriarchy, masculinity and violence, to instead consider girls as a social imaginary.Drawing on the depiction of girlhood from the 1970s as a reference image, including that of low-wage working-class girls, Choi explores the extent to which the form of girlhood represented in the millennial South Korean cinema still resonates with such an image. From the popular teen pictures and male auteurs' work of the 1970s; to a contemporary film cycle on military sexual slavery ("wianbu"); to Bong Joon-ho's girl trilogy; and to South Korean independent cinema of 2010s directed by women, Choi focuses on girls' sexuality, labor, and leisure, and demonstrates how girls in contemporary South Korean cinema are increasingly represented to have agency (albeit still limited); they are subjects who remember the past, experience the present, and envision the future, and whose interiority lies beyond their status as victims of sexual violence and national trauma. Choi further critically engages with the girlhood associated with unproductivity and dismissed as mere irreality. In contrast, she foregrounds how cinema could adequately mourn girls' deaths and grant them shelter and idleness as part of what is desperately needed: the very girlhood that has long been denied.

Forever Girls explores girlhood manifest in contemporary South Korean cinema within the conflicting socio-political forces that shaped the nation: coloniality, postcolonial and postwar traumas, modernity, and democracy. Author Jinhee Choi reorients the direction of current scholarship on contemporary South Korean cinema from patriarchy, masculinity and violence, to instead consider girls as a social imaginary.Drawing on the depiction of girlhood from the 1970s as a reference image, including that of low-wage working-class girls, Choi explores the extent to which the form of girlhood represented in the millennial South Korean cinema still resonates with such an image. From the popular teen pictures and male auteurs' work of the 1970s; to a contemporary film cycle on military sexual slavery ("wianbu"); to Bong Joon-ho's girl trilogy; and to South Korean independent cinema of 2010s directed by women, Choi focuses on girls' sexuality, labor, and leisure, and demonstrates how girls in contemporary South Korean cinema are increasingly represented to have agency (albeit still limited); they are subjects who remember the past, experience the present, and envision the future, and whose interiority lies beyond their status as victims of sexual violence and national trauma. Choi further critically engages with the girlhood associated with unproductivity and dismissed as mere irreality. In contrast, she foregrounds how cinema could adequately mourn girls' deaths and grant them shelter and idleness as part of what is desperately needed: the very girlhood that has long been denied.

This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators’ affective and emotional engagement with film, which can function as a moral ground for one’s connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first volumes to open up a dialogue among these diverse methodologies. Contributors bring to the fore some of the assumptions implicitly shared between these theories and forge a new relationship between them in order to explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series:Philosophy of Literature: Contemporary and Classic Readings - An AnthologyEdited by Eileen John and Dominic McIver LopesISBN: 9781405112086Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extractsProvides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary value, and the definition and ontology of literatureIncludes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and HumeServes as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figuresPhilosophy of Film and Motion Pictures: An AnthologyEdited by Noël Carroll and Jinhee ChoiISBN: 9781405120272Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theoryEight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and moralityIssues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornographyReplete with examples and discussion of moving pictures throughout

This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators’ affective and emotional engagement with film, which can function as a moral ground for one’s connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first volumes to open up a dialogue among these diverse methodologies. Contributors bring to the fore some of the assumptions implicitly shared between these theories and forge a new relationship between them in order to explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films

Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theoryEight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and moralityIssues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornographyReplete with examples and discussion of moving pictures throughout

Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theoryEight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and moralityIssues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornographyReplete with examples and discussion of moving pictures throughout

This book compares production and consumption of Asian horror cinemas in different national contexts and their multidirectional dialogues with Hollywood and neighboring Asian cultures.