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The Korean Cinema Book

The Korean Cinema Book.- Contents.- Preface (800 words).- Author TBC.- Introduction (10, 000 words).- Nikki J.Y. Lee and Julian Stringer.- Part I: Historical Trajectories.- 1. Modern History and Cultural Production in Korea (8000 words).- Michael Robinson.- 2. Film Policy and Censorship (8000 words).- Darcy Paquet.- 3. The Culture of Film Exhibition: History and Characteristics (7000 words) Cho Jun-hyung.- 4. Technology and Film Style (10,000 words).- Chung Chong-hwa.- 5. Film Stars and Performance: Historicizing Cultural Engagement (7000 words).- Chung-kang Kim.- 6. Independent Filmmaking in South Korea (6000 words).- Nohchool Park.- 7. South Korean Political Documentaries (6000 words).- Eunkwang Huh.- Part II: Colonial Korean Cinema.- 8. Film Audiences without Movie Theaters: Early Korean Film Culture, 1897-1919 (6000 words).- Dong Hoon Kim.- 9. Melodic Variations of Colonial Modernity: From Itinerant Byeonsa to the Talkies, 1907-1937 (6000 words).- Roald Maliangkay and Brian Yecies.- 10. Invaded Homeland: Colonialism and Cinema Technology in Early Cinema (6000 words).- Baek Moon-im.- 11. The Urban Life of Colonial Chosun and Crossroads of Youth (1934) (6000 words).- Jeong Min-Ah.- 12. The Mother in Chos?n (Korean) Cinema: Between Realism and Wartime Propaganda (5000 words).- Kyeong-Hee Choi and Hyun-Hee Park.- Part III: Post-War South Korean Genres.- 13. 1950s Korean Cinema and the Culture of the Cold War (5000 words).- Yom Chan Hee.- 14. Korean Melodrama: Dynamics of the Melodramatic, the Sinpa-tic, and the National (6000 words).- Eunsun Cho.- 15. State, Family and Laughter: The Historical Development of Korean Comedy from the Late 1950s to the 1970s (5000 words).- Moon Gwan-gyu.-p 16. Sex-Exploitation Movies in the 1970s: The Politics of Decadence and the Military Regime's Hypernationalization Project (6000 words).- Sun-Young You.- 17. Gangster Films (5000 words).- Author TBC.- 18. Some 'R' Points: Repression, Repulsion, Revelation, and Redemption in South Korean Horror Films (6000 words).- David Scott Diffrient.- 19. Regional Hits: Korean Blockbusters (5000 words).- Jinhee Choi.- Part IV: North Korean Cinema.- 20. North Korean Cinema: An Historical Overview (5000 words) Hyangjin Lee.- 21. The Birth of North Korean Cinema and Joo In-gyu (6000 words).- Han Sang Eon.- 22. Cinema and the Formation of North Korean Style Socialism, 1958-1966 (7000 words).- Ham Chung Beom .- 23. The Representation of Femininity in North Korean Juche Films (5000 words).- Lee Myung-ja.- 24. My North Korean Cinema (5000 words).- Author TBC.- Part V: Contemporary South Korean Film Cultures: Transnational Dimensions.- 25. The Development of Korean Cinema Studies in North America (6000 words).- Kyung Hyun Kim.- 26. What Price Glory?: Transnational Canon Formations and the Local Reception of Korean Cinema (6000 words).- Hye Seung Chung.- 27. The Promotion and Reception of Korean Cinema in the UK (6000 words).- Daniel Martin.- 28. Hollywood in Korea/Korea in Hollywood (6000 words).- Julian Stringer.- 29. Inter-Asia Film Studies: The Case of Korea/Japan (5000 words).- Kim Soyoung.- 30. The 'Asianization' of South Korean Cinema (6000).- Nikki J. Y. Lee.- Appendices: Bibliography, Electronic Resources, Film Availability (DVD), Glossary.- TOTAL = 187, 800 words (excluding Appendices).

Film festivals, once seen as a matter for journalism, are now increasingly the subject of attention within scholarly Film Studies. They are, as Mar Diestro-Dopido argues, not only of cultural value in themselves but are also sites of cinematic, artistic, social, political and economic exchange.

Cinema and Cultural Exchange

Film Festivals

This book examines a range of systems and structures that film and video artists have developed in works spanning the late 1960s to the present, often in response to the changing technologies and medium of cinema. Simon Payne considers the affinities that film and video works share with aspects of painting, sculpture and music. He argues that the evolution of methodical strategies in artists' cinema can be traced back to the first avant-garde films made a century ago between 1921-1924. Tracing the lineage of key figures and international groups that have formed part of the picture since then, he posits that the most thorough formal exploration of cinema can be credited to a generation of artists that began making films in Britain in the late 1960s and early 1970s. He goes on to analyse the work of key filmmakers including Peter Gidal, David Hall, Malcolm Le Grice, Annabel Nicolson, Lis Rhodes and Guy Sherwin. Paying close attention to their recent films and videos as well as those of diverse younger artists working in a similar tradition. Experimental Cinema, Structures and Systems traces a unique and influential lineage that has defined some of the central preoccupations of experimental film and video, which tests our expectations of cinema, television and the moving image.

Structures, Systems and Strategies

Experimental Cinema

Everyone's Seen My Tits

Cinema Two

Hirokazu Koreeda

Learning to code has never been easier than with this innovative visual guide to computer programming for beginners. In our digital world, coding skills are in high demand and the need for programmers is still growing. Taking the first steps in learning to code may seem daunting, but by using a graphic method to break code into small chunks, this book brings essential skills easily within reach. Each chapter explores one of the most popular languages, with practical programming projects to show you how programming works. You'll learn to think like a programmer by breaking a problem down into parts before turning those parts into lines of code. Short, easy-to-follow steps then show you, piece by piece, how to build a complete program. There are challenges for you to tackle to build your confidence before moving on. Written by a team of expert coders and coding teachers, the Beginner's Step-by-Step Coding Course is the ideal way to understand coding.

Learn Computer Programming the Easy Way

Beginner's Step-by-Step Coding Course

Global East Asian Screen Cultures

The Cinema of Stephen Chow

Bloomsbury Visual Arts Handbooks

An overview of the current landscape of service design, covering both scholarly and practical discussions.

Plural Perspectives and a Critical Contemporary Agenda

The Bloomsbury Handbook of Service Design

Magic Rays of Light is an original and ambitious history of the largely unknown early years of television in Britain. A detailed cultural study of the first demonstrations, of the extensive experimental broadcasts between 1928 and 1935, and of the BBC's richly varied daily service starting in November 1936 from Alexandra Palace, the book overturns the popular mis-conception that television in Britain effectively began with Elizabeth II's Coronation in 1953. In tracing this history, John Wyver chronicles the process by which a technology became a medium. He argues that much of what that television as we knew it in the late twentieth century was created within the fluid and at times unstable forms of the interwar medium. Most fundamentally the basics of television's screen language and grammar were developed. As this emerged, television drama flourished in the staging of more than 400 plays, from Shakespeare and Agatha Christie to Pirandello and P.G. Wodehouse, starring luminaries including Laurence Olivier, Sybil Thorndike and Peggy Ashcroft. Outside broadcasts of state occasions, and of Wimbledon and Test matches, were pioneered, along with transmissions of the Derby (from 1931 onwards) and the FA Cup Final. Light entertainment formats, quiz shows and the direct ancestor of countless magazine programmes were devised, alongside ambitious presentations of classical ballet and grand opera. As a striking counterpoint to this story, Magic Rays of Light also celebrates the inchoate, indeterminate nature of interwar television. In certain key ways, from the first imaginaries and sci-fi visions of television, and in aspects of how it was made, of what was produced and how this was seen, early television was entirely distinct from what the medium later became. The book reveals television's forgotten pasts and unrealised futures, including the low resolution, vertical format transmissions of John Logie Baird's first systems, and the live, large-screen electronic projection systems known as 'cinema television'. Relaying sports events and pageantry to cinemas, this pre-war sensation was seen by the BBC as a serious threat to its monopoly. By attending closely to the transmissions of the first fifteen years, to the emerging medium's industrial context, and to its intermedial links with radio, theatre, cinema, music hall, sport and more, Magic Rays of Light illuminates television's place in the cultural and social histories of Britain between the wars.

The Early Years of Television in Britain

Magic Rays of Light

Through a re-examination of the theoretical study of time and embodiment, this collection proposes an innovative new discourse in which to situate film. Each of its essays, written by a host of renowned international scholars, demonstrate the embodiment of time to be a vital part of the aesthetic experience of cinema. Analysing a broad range of films such as Beasts of the Southern Wild (USA, 2012), Talk to Her (Spain, 2002), Millennium Actress (Japan, 2001), Jab Tak Hai Jaan (India, 2012), and Jinpa (China, 2018), they each draw specific attention to moments of change and transformation, so as to explore how films operate as dynamic carriers of social meaning. Contributors examine key questions of embodied time as represented on screen; as a way of rethinking the centrality of the individual, of depicting gendered differences, of decentring western perspectives to consider embodied time in a widened global context, and as a way of expanding what embodiment means in post-human narratives. In doing so, this study not only highlights specific discourses of radical, lived experience in film, but also considers how distinctions of race and class, gender and sexuality, migration, religion, and indigeneity affect these depictions of embodied subjectivity.

Time and the Cinematic Body

Radical Embodiment on Film

Global Exploitation Cinemas

Discourses of cult cinema primarily centre around the West, with a particular emphasis upon Anglo-American cinema and fandom. Meanwhile, scholarship on world cinema privileges art cinema traditions and downplays those areas of popular cinema that intersect with cult. Global Cult Cinemas makes a decisive intervention by specifically addressing the transnational dynamics underpinning cult cinema. From studies of film reception that trace the international spread of cult film practices through to accounts of cult filmmaking traditions from a diverse range of film cultures, Global Cult Cinemas works towards the goal of de-Westernizing the discipline.

With contributors and topics from across the globe, Global Cult Cinemas explores this de-Westernization through filmmakers and current events such as Alejandro Jodorowsky in the era of #MeToo, cinephilia in Pakistan, and the reception of the Czech Crazy Comedy. While broadening the study of cult cinema beyond its predominant US focus, this book disrupts the realm of traditional cult cinema scholarship.

The Korean Cinema Book

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