Global Korea – serie

At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. The colonial experience of the twentieth century (1910-1945) decidedly shaped the culture and identity of Korea, yet the precise manner as to how South Korean postcolonial cinema depicts this troubling past has not received sufficient scholarly attention. Parameters of Disavowal seeks to break this hiatus. It approaches the subject of the colonial past in South Korean cinema as a particular kind of postcolonial knowledge-production that responds to the repercussions of Cold War geopolitics while also subscribing to the precept of anticolonial nationalism. It also advances beyond manifest readings of anticolonial messages by examining how postcolonial cinema not only posits, but also constructs Korean national history through disavowals and elisions of the very past they wish to represent.In particular, this book focuses on how South Korean films have created ways of seeing and imagining the colonial past by privileging certain Korean sites as spaces generating unique meanings and values contrary to the assumed total domination of the colonial power. These films thereby inscribe colonial power within parameters of disavowal, ultimately rendering it delimited, incomplete, and flawed. This unique cinematic mode of visualization, the author argues, has shaped historical thinking about Korea's colonial past and demands further investigation of the relationship between politics and aesthetics in cinema.

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program for monographs. Visit www.luminosoa.org to learn more.Rules of the House offers a dynamic revisionist account of the Japanese colonial rule of Korea (1910–1945) by examining the roles of women in the civil courts. Challenging the dominant view that women were victimized by the Japanese family laws and its patriarchal biases, Sungyun Lim argues that Korean women had to struggle equally against Korean patriarchal interests. Moreover, women were not passive victims; instead, they proactively struggled to expand their rights by participating in the Japanese colonial legal system. In turn, the Japanese doctrine of promoting progressive legal rights would prove advantageous to them. Following female plaintiffs and their civil disputes from the precolonial Choson dynasty through colonial times and into postcolonial reforms, this book presents a new and groundbreaking story about Korean women’s legal struggles, revealing their surprising collaborative relationship with the colonial state.

A free open access ebook is available upon publication. Learn more at www.luminosoa.org.Peruvian migrant workers began arriving in South Korea in large numbers in the mid 1990s, eventually becoming one of the largest groups of non-Asians in the country. Migrant Conversions shows how despite facing unstable income and legal exclusion, migrants come to see Korea as an ideal destination. Some even see it as part of their divine destiny. Faced with looming departures, Peruvians develop cosmopolitan plans to transform themselves from economic migrants into pastors, lovers, and leaders. Set against the backdrop of 2008’s global financial crisis, Vogel explores the intersections of three types of conversions— money, religious beliefs and cosmopolitan plans—to argue that conversions are how migrants negotiate the meaning of their lives in a constantly changing transnational context. At the convergence of cosmopolitan projects spearheaded by the state, churches, and other migrants, Peruvians change the value and meaning of their migrations. Yet, in attempting to make themselves at home in the world and give their families more opportunities, they also create potential losses. As Peruvians help carve out social spaces, they create complex and uneven connections between Peru and Korea that challenge a global hierarchy of nations and migrants. Exploring how migrants, churches and nations change through processes of conversion reveals how globalization continues to impact people’s lives and ideas about their futures and pasts long after they have stopped moving, or that particular global moment has come to an end.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.Melodrama films dominated the North and South Korean industries in the period between liberation from Japanese colonial rule in 1945 and the hardening of dictatorship in the 1970s. The films of each industry are often read as direct reflections of Cold War and Korean War political ideologies and national historical experiences, and therefore as aesthetically and politically opposed to each other. However, Political Moods develops a comparative analysis across the Cold War divide, analyzing how films in both North and South Korea convey political and moral ideas through the sentimentality of the melodramatic mode. Travis Workman reveals that the melancholic moods of film melodrama express the somatic and social conflicts between political ideologies and excesses of affect, meaning, and historical references. These moods dramatize the tension between the language of Cold War politics and the negative affects that connect cinema to what it cannot fully represent. The result is a new way of historicizing the cinema of the two Koreas in relation to colonialism, postcolonialism, war, and nation building.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.Intersectional Incoherence stages an encounter between the critical discourse on intersectionality and texts produced by Korean subjects of the Japanese empire and their postwar descendants in Japan, known as Zainichi Koreans. Arguing for intersectionality as a reading method rather than strictly a tool of social analysis, Cindi Textor reads moments of illegibility and incoherent language in these texts as a product of the pressures on Zainichi Koreans and their literature to represent both Korean difference from and affinity with Japan. Rejecting linguistic norms and representational imperatives of identity categories, Textor instead demands that the reader grapple with the silent, absent, illegible, or unintelligible. Engaging with the incoherent, she argues, allows for a more ethical approach to texts, subjects, and communities that resist representation within existing paradigms.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.Melodrama films dominated the North and South Korean industries in the period between liberation from Japanese colonial rule in 1945 and the hardening of dictatorship in the 1970s. The films of each industry are often read as direct reflections of Cold War and Korean War political ideologies and national historical experiences, and therefore as aesthetically and politically opposed to each other. However, Political Moods develops a comparative analysis across the Cold War divide, analyzing how films in both North and South Korea convey political and moral ideas through the sentimentality of the melodramatic mode. Travis Workman reveals that the melancholic moods of film melodrama express the somatic and social conflicts between political ideologies and excesses of affect, meaning, and historical references. These moods dramatize the tension between the language of Cold War politics and the negative affects that connect cinema to what it cannot fully represent. The result is a new way of historicizing the cinema of the two Koreas in relation to colonialism, postcolonialism, war, and nation building.