Cinema at the Crossroads

Cinema at the Crossroads : Nation and the Subject in East Asian Cinema

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What does it mean to rethink postcolonial studies through East Asian experience and cinema? Cinema at the Crossroads: Nation and the Subject in East Asian Cinema by Hyon Joo Yoo, pursues this question by bringing an East Asian postcolonial framework, the notion of film as a manifestation of national culture, and the methodology of psychoanalysis to bear on a failed hegemonic subject. This is a profound look into how cinema and national culture intertwine with hegemony and more

Product details

  • Hardback | 166 pages
  • 157.48 x 231.14 x 17.78mm | 385.55g
  • Lexington Books
  • Lanham, MD, United States
  • English
  • New
  • 0739167820
  • 9780739167823
  • 1,752,606

About Hyon Joo Yoo

Hyon Joo Yoo is assistant professor of film and television studies at the University of more

Table of contents

Preface Introduction: What's in a Name? Postcolonial East Asia Chapter 1. The Other Empire: Japan and the Pornographic Imagination of East Asia Chapter 2. Can the Subaltern "See"? The Subaltern Vision and Looking Otherwise Chapter 3. Transnational Cultural Production and the Politics of Moribund Masculinity Chapter 4. When is it Postcolonial? Time-Space in East Asian National Cinema Epilogueshow more

Review quote

Proposing that an individual film can be a synecdoche for imperialism, colonialism, and postcolonialism-primarily in North Korea, South Korea, and Japan-and that individual filmic characters function as a synecdoche for gender and racial issues, Yoo's book is a hybrid, mixing film analysis with commentary on political and social aspects of East Asia. Using Korean, Taiwanese, and Japanese cinemas and a Lacanian theoretical framework, Yoo (Univ. of Vermont) explores the rules surrounding the 'family state,' or gender rules for individual characters; 'state racism,' which 'involves migrant workers, illegal aliens, and disenfranchised natives'; and Japan's claim to modernity versus the rest of Asia as the 'Other' or the unmodern. The films discussed, among them Chun-ho Bong's Memories of Murder (2003) and Mother (2009) and also Hou Hsiao-hsien's Goodbye, South, Goodbye (1996) and Millennium Mambo (2001), offer instances of the Lacanian real and jouissance, which synecdochely depict how the rules for the family state and state racism break down when the subject's gender identity breaks down, or when, in Hou's films, violence and death reveal the violence of the (post)colonial period. Summing Up: Recommended. CHOICEshow more