Brian Yecies
Biographic Data
| ID | 290843 |
|---|---|
| NAME | Brian Yecies |
| GIVEN NAMES | Brian |
| FAMILY NAME | Yecies |
| SIGNATURE | YECIES B |
| AFFILIATIONS | University of Wollongong |
| ORCID | 0000-0001-9296-6651 |
| VERIFIED | Yes |
| TOTAL WORKS | 37 |
| TOTAL CITATIONS | 44 |
| AUTHOR COUNT | 37 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 4 |
Beyond Gatekeeping: Web Series as Entrepreneurial Emancipation in the Contemporary Streaming Era
This study explores fictional web series as a disruptive alternative to traditional television industry gatekeeping systems, offering actor/producers unprecedented pathways to creative agency and entrepreneurial career development. This research documents how practitioners, industry bodies, broadcasters, and audiences define “successful” web series, examining how “value” is generated beyond traditional economic metrics. Drawing on semi-structured…
Monetisation and digital entrepreneurship
This chapter briefly explores some of the monetisation strategies of Web 2.0 social media entertainment platforms such as YouTube before it defines blockchain ‘smart contracts’, NFTs and DAOs, which are underlying elements of the emergent Web 3.0 environment. Next, it highlights three Australian enterprises applying blockchain applications in innovative ways, illustrating the importance of monetisation and digital entrepreneurship in the creative…
Cultural policy aspirations and the turn in Saudi Arabia’s video game industry
Saudi Arabia is one of the largest emerging but least-known nations in the domain of game cultures and the broader transformation of popular culture. While previous studies focus largely on the representation of Arabs in video games and other entertainment forms, cultural policy and its influence on gaming culture have been scanty, owing to challenges arising from local linguistic conventions and the limited availability of primary materials. To …
Korean webtoons and collective innovation: Expanding Europe's creative industries through competitive localization
This study investigates the rise of South Korea’s webtoon industry and the fan–translators who are contributing to the transformation of this entrepreneurial digital comics format. By analyzing the creator-owned thriller series Bastard (2014 –) and its various foreign-language versions, the authors demonstrate how cultural intermediaries are localizing content and cultivating new audiences through a process of 'collective innovation'. The charact…
Cultural intermediation and the basis of trust among webtoon and webnovel communities
This study investigates some of the previously unrecognized reading, writing and sharing trends emerging across Asian-born popular digital webtoon and webnovel platforms. These particular sectors of the creative industries are rapidly becoming energizing vehicles for transmedia intellectual property (IP) – referring to a network of interconnected media, popular culture and merchandise emanating from a single creative source. Specifically, South K…
Chinese Transcreators, Webtoons and the Korean Digital Wave
Webtoons are fast becoming a new part of the expanding digital media industries, with interest in this niche comic form increasing on a monthly basis across a range of mobile apps and online websites. The major South Korean web service provider Naver has developed a pioneering global webtoon platform called ‘Line Webtoon’, which is accessible across multiple markets and in multiple languages throughout East Asia. Given this reach and its impact o…
The cultural power metric: Toward a reputational analysis of China’s soft power in the Asia-Pacific
The advent of new media technologies has changed how people watch, engage with, and share digital media. Conventionally, audiences were surveyed selectively, and the results were collated by professional agencies and often kept confidential. However, the conspicuous ratings given to media and cultural products outside their country of origin and their very public success and failure raises questions about the validity of such methods, particularl…
Global transcreators and the extension of the Korean webtoon IP-engine
Webtoons are fast cementing their place as a new sector of the digital media industries, with interest in this niche comic form increasing on a monthly basis across a range of platforms. To clarify this transformation, this article investigates the popular webtoon Cheese in the Trap, as well as its television series and film remakes, to illustrate the transmedia flows and participatory culture that underpin the extension of this new ‘IP-engine’. …
The Chinese–Korean co-production pact: Collaborative encounters and the accelerating expansion of Chinese cinema
Official film co-production treaties are designed by policymakers to stimulate a range of collaborations, technology transfers, and joint funding initiatives in the industry. Since July 2004, the Chinese government has used this top-down approach to cultural diplomacy as a symbolic tool for advancing Chinese cinema and opening the domestic market to a host of willing international partners. Korean filmmakers in particular have exploited the (ofte…
Cultural Exports, Creative Strategies and Collaborations in the Mainland Chinese Market
Willing Collaborators Foreign Partners in Chinese Media: Foreign Partners in Chinese Media
As China looks to reinvigorate its soft power by drawing on the creative inputs of foreign media producers and technical expertise, this book explores how and why creative workers are moving to the Mainland from East Asia, and how they are
Korean–Chinese Film Remakes in a New Age of Cultural Globalisation: Miss Granny (2014) and 20 Once Again (2015) along the Digital Road
Since the early 2000s, the Korean Wave (aka Hallyu) has influenced Greater China in enterprising and complex ways that diverge from the ways in which Hallyu has impacted other markets. At the same time, since China joined the Word Trade Organization in 2001, art, culture and media production have been largely transformed from vehicles for state propaganda into new gateways for producing and showcasing popular commercial entertainment. Korean prod…
Chinese transnational cinema and the collaborative tilt toward South Korea
To shed light on the important and growing trend in international filmmaking, this chapter investigates the increasing levels of co-operation in co-productions and post-production work between China and Korea since the mid-2000s, following a surge in personnel exchange and technological transfer. It explains how a range of international relationships and industry connections is contributing to a new ecology of expertise, which in turn is boosting…
The Role of Hegemonic Masculinity and Hollywood in the New Korea
We argue that during the 1940s Hollywood films had an important role to play in the creation of a postwar South Korean society based on the new global U.S. hegemony. The connections between political and economic change in South Korea and socio-cultural factors have hitherto scarcely been explored and, in this context, we argue that one of the key socio-cultural mechanisms that supported and even drove social change in the immediate post-war peri…
Film Pioneer Lee Man-hee and the Creation of a Contemporary Korean Cinema Legend
At the peak of Korean cinema's contemporary golden age in the mid-2000s, 1960s auteur director Lee Man-hee and his films were rediscovered and have since become appreciated in ways that Lee himself never experienced. In 2010, his classic Late Autumn was remade as a transnational coproduction for a pan-Asian audience. Four decades after his death, Lee remains one of the most influential directors in Korea's history. To understand his legacy and it…
The Chinese–Korean co-production pact: Collaborative encounters and the accelerating expansion of Chinese cinema
Official film co-production treaties are designed by policymakers to stimulate a range of collaborations, technology transfers, and joint funding initiatives in the industry. Since July 2004, the Chinese government has used this top-down approach to cultural diplomacy as a symbolic tool for advancing Chinese cinema and opening the domestic market to a host of willing international partners. Korean filmmakers in particular have exploited the (ofte…
Transnational collaboration of the multisensory kind: Exploiting Korean 4D cinema in China
This article explores how technicians working in the cinema exhibition arm of the Korean conglomerate CJ Global are pioneering the diffusion of four-dimensional (4D) motion widescreen cinema technology. It analyzes the 4D work-flow processes being developed to connect Asian and Hollywood films with local audiences via motion and environmental special effects, as well as some of the cultural assumptions underlying this new technology transfer. As …
East Asian audio-visual collaboration and the global expansion of Chinese media
This article investigates the significant re-orientation of audio-visual production in East Asia over the last few years brought about by the rise of China, beginning with the proposition that unprecedented change is occurring in East Asian media production. While the 'Sinophone world' has been the locus of critical analysis in the past, all eyes are now focused on China. Flows of knowledge, expertise and content are becoming significant in this …
‘Masking madness with gaiety’: Innovating sound exhibition in Australia and the Royal Commission's failure to prevent the talkie wars
The 1927–1928 Royal Commission on the Moving Picture Industry in Australia sought to strengthen the domestic film industry’s competitiveness against foreign investment, technology and manpower. Although it concluded before the widescale rollout of sound exhibition, it began collecting evidence after the coming of sound had already begun to make waves. Beginning in 1924 and continuing beyond the Commission, agents of the US De Forest Phonofilms co…
"Korean Cinema's Female Writers-Directors and the "Hegemony of Men
The South Korean film industry represents a masculine-privileged gender regime that over the last few decades has shown a newfound strength both at home and abroad. However, challenging this masculine privilege are a growing number of important though unheralded female writers-directors operating in both the independent and commercial sectors of the industry. In this article, the authors present a case study that explores the work of five of thes…
The Changing Face of Korean Cinema: Planet Hallyuwood
The rapid development of Korean cinema during the decades of the 1960s and 2000s reveals a dynamic cinematic history which runs parallel to the nation’s political, social, economic and cultural transformation during these formative periods. This book examines the ways in which South Korean cinema has undergone a transformation from an antiquated local industry in the 1960s into a thriving international cinema in the 21st century. It investigates …
The Korean "Cinema of Assimilation" and the Construction of Cultural Hegemony in the Final Years of Japanese Rule
During the late 1930s, as Japan escalated war preparations with China, and after GovernorGeneral Minami formalized the assimilationist ideology of "Japan and Korea as One Body", cinema in Korea experienced a fundamental transformation. Korean filmmakers had little choice but to make co-productions that aimed to draw Koreans toward Japanese ways of thinking and living, while promoting a sense of loyalty to the Japanese Empire. Within this colonial…
Asian interchange: Korean-Hong Kong co-productions of the 1960s
In the 1960s, during the first half of President Park Chung-hee's term of authoritarian government, Korean film-makers pursued a range of international collaborations with one of the most active centres of the Asian film industry: Hong Kong. As a result of domestic economic, political and cultural restrictions, but encouraged by efforts to rapidly industrialize the Korean film industry, these activities involved participation in international fil…
Korea's Occupied Cinemas, 1893-1948: The Untold History of the Film Industry
Korea’s Occupied Cinemas, 1893-1948 compares and contrasts the development of cinema in Korea during the Japanese occupation (1910-1945) and US Army Military (1945-1948) periods within the larger context of cinemas in occupied territories. It differs from previous studies by drawing links between the arrival in Korea of modern technology and ideas, and the cultural, political and social environment, as it follows the development of exhibition, fi…
Power of the Korean Film Producer: Park Chung Hee's Forgotten Film Cartel of the 1960s Golden Decade and its Legacy
After censorship was eliminated in 1996, a new breed of writer-directors created a canon of internationally provocative and visually stunning genre-bending hit films, and new and established producers infused unprecedented venture capital into the local industry. Today, a bevy of key producers, including vertically integrated Korean conglomerates, maintain dominance over the film industry while engaging in a variety of relatively neartransparent …
Cultural intermediation and the basis of trust among webtoon and webnovel communities
This study investigates some of the previously unrecognized reading, writing and sharing trends emerging across Asian-born popular digital webtoon and webnovel platforms. These particular sectors of the creative industries are rapidly becoming energizing vehicles for transmedia intellectual property (IP) – referring to a network of interconnected media, popular culture and merchandise emanating from a single creative source. Specifically, South K…
The Changing Face of Korean Cinema: Planet Hallyuwood
The rapid development of Korean cinema during the decades of the 1960s and 2000s reveals a dynamic cinematic history which runs parallel to the nation’s political, social, economic and cultural transformation during these formative periods. This book examines the ways in which South Korean cinema has undergone a transformation from an antiquated local industry in the 1960s into a thriving international cinema in the 21st century. It investigates …
Talking and Listening in the Age of Modernity: Essays on the history of sound
Historians have, until recently, been silent about sound. This collection of essays on talking and listening in the age of modernity brings together major Australian scholars who have followed Alain Corbin's injunction that historians 'can no longer afford to neglect materials pertaining to auditory perception
Korea's Occupied Cinemas, 1893-1948: The Untold History of the Film Industry
Korea’s Occupied Cinemas, 1893-1948 compares and contrasts the development of cinema in Korea during the Japanese occupation (1910-1945) and US Army Military (1945-1948) periods within the larger context of cinemas in occupied territories. It differs from previous studies by drawing links between the arrival in Korea of modern technology and ideas, and the cultural, political and social environment, as it follows the development of exhibition, fi…
Global transcreators and the extension of the Korean webtoon IP-engine
Webtoons are fast cementing their place as a new sector of the digital media industries, with interest in this niche comic form increasing on a monthly basis across a range of platforms. To clarify this transformation, this article investigates the popular webtoon Cheese in the Trap, as well as its television series and film remakes, to illustrate the transmedia flows and participatory culture that underpin the extension of this new ‘IP-engine’. …
The Chinese–Korean co-production pact: Collaborative encounters and the accelerating expansion of Chinese cinema
Official film co-production treaties are designed by policymakers to stimulate a range of collaborations, technology transfers, and joint funding initiatives in the industry. Since July 2004, the Chinese government has used this top-down approach to cultural diplomacy as a symbolic tool for advancing Chinese cinema and opening the domestic market to a host of willing international partners. Korean filmmakers in particular have exploited the (ofte…
Sounds of Celluloid Dreams: Coming of the Talkies to Cinema in Colonial Korea
Conventional reports often hint at how Koreans gained film industry experience and training in Korea and Japan during the 1920s and early 1930s under Cultural Policy reforms. Yet, few studies consider the full range of influences that motivated their contributions to a local vibrant popular entertainment industry and to the global transition to sound. This article attempts to recast the story of cinema in colonial Korea by offerintg new insights …
Systematization of Film Censorship in Colonial Korea: Profiteering from Hollywood’s First Golden Age, 1926–1936
Between 1926 and 1936, cinema in colonial Korea was a vibrant business, involving the production of domestic films and the distribution and exhibition of American, British, Chinese, French, German, Italian, and Russian films. During this decade, the first golden age of American cinema in Korea, Hollywood films overwhelmingly dominated the Korean market. Korea was an important territory that Hollywood used in its overall global expansion campaign.…
Korean webtoons and collective innovation: Expanding Europe's creative industries through competitive localization
This study investigates the rise of South Korea’s webtoon industry and the fan–translators who are contributing to the transformation of this entrepreneurial digital comics format. By analyzing the creator-owned thriller series Bastard (2014 –) and its various foreign-language versions, the authors demonstrate how cultural intermediaries are localizing content and cultivating new audiences through a process of 'collective innovation'. The charact…
The Role of Hegemonic Masculinity and Hollywood in the New Korea
We argue that during the 1940s Hollywood films had an important role to play in the creation of a postwar South Korean society based on the new global U.S. hegemony. The connections between political and economic change in South Korea and socio-cultural factors have hitherto scarcely been explored and, in this context, we argue that one of the key socio-cultural mechanisms that supported and even drove social change in the immediate post-war peri…
Film Pioneer Lee Man-hee and the Creation of a Contemporary Korean Cinema Legend
At the peak of Korean cinema's contemporary golden age in the mid-2000s, 1960s auteur director Lee Man-hee and his films were rediscovered and have since become appreciated in ways that Lee himself never experienced. In 2010, his classic Late Autumn was remade as a transnational coproduction for a pan-Asian audience. Four decades after his death, Lee remains one of the most influential directors in Korea's history. To understand his legacy and it…
Digital Intermediary: Korean Transnational Cinema
Since censorship was lifted in Korea in 1996, collaboration between Korean and foreign filmmakers has grown in both extent and visibility. Korean films have been shot in Australia, New Zealand and mainland China, while the Korean digital post-production and visual effects firms behind blockbusters infused with local effects have gone on to work with filmmakers from greater China and Hollywood. Korean cinema has become known for its universal stor…
Lost Memories of Korean Cinema: Film Policies During Japanese Colonial Rule, 1919-1937
What this article will share is a new and compelling discussion surrounding film policies and censorship regulations in Korea under Japanese colonial rule. With this task in mind, we may begin to revisit the lost memories of Korean cinema. So few films made before 1945 exist today, the search for and discovery of them is a vital tool in understanding Korean history
Disney through the Web looking glass
For critics of the Disney Corporation, the World Wide Web is a convenient medium for providing information and expressing concern. The majority of anti–Disney Web sites are run by either Christian or labour rights organisations as utilitarian adjuncts to offline campaigns. In contrast are a number of idiosyncratic individual anti–Disney sites that provide links to criticism from a variety of perspectives. The Web appears to facilitate this type o…
Projecting Sounds of Modernity: The Rise of the Local ‘Talkie’ Technology in the Australian Cinema, 1924–1932
This article analyses the distinct local responses to the coming of sound to the Australian cinema and examines the reactions to the American modernisation of the motion picture industry. The story documents how sound technology was promoted by the trade press, inventors, and the American electrical companies, each with a different agenda. The most active Australian sound systems and companies are discussed and located within the context of moder…
Systematization of Film Censorship in Colonial Korea: Profiteering from Hollywood’s First Golden Age, 1926–1936
Between 1926 and 1936, cinema in colonial Korea was a vibrant business, involving the production of domestic films and the distribution and exhibition of American, British, Chinese, French, German, Italian, and Russian films. During this decade, the first golden age of American cinema in Korea, Hollywood films overwhelmingly dominated the Korean market. Korea was an important territory that Hollywood used in its overall global expansion campaign.…
Talking and Listening in the Age of Modernity: Essays on the history of sound
Historians have, until recently, been silent about sound. This collection of essays on talking and listening in the age of modernity brings together major Australian scholars who have followed Alain Corbin's injunction that historians 'can no longer afford to neglect materials pertaining to auditory perception
Sounds of Celluloid Dreams: Coming of the Talkies to Cinema in Colonial Korea
Conventional reports often hint at how Koreans gained film industry experience and training in Korea and Japan during the 1920s and early 1930s under Cultural Policy reforms. Yet, few studies consider the full range of influences that motivated their contributions to a local vibrant popular entertainment industry and to the global transition to sound. This article attempts to recast the story of cinema in colonial Korea by offerintg new insights …
Disarming Japan's Cannons with Hollywood's Cameras: Cinema in Korea Under U.S. Occupation, 1945-1948
Reorienting the southern half of the Korean Peninsula away from the former Japanese colonial government's anti-democratic, anti-American and militaristic ideology while establishing orderly government was among the goals of the U.S. Army Military Government in Korea (USAMGIK, 1945-1948). To help achieve this aim on a wide front and as quickly as possible, USAMGIK's Motion Picture Section in the Department of Public Information arranged the exhibi…
Cultural Flows Beneath Death Note: Catching the Wave of Popular Japanese Culture in China
To better understand the controversy surrounding Death Note in the Chinese context, this article explores the historical precursors to the Chinese Communist Party's ban on horror films, and examines the attitudes of Chinese students at an Australian university. The article also proposes a new viewpoint about how trade and popular presses in the West are attempting to understand China's changing role in the global cultural industries
Somewhere Between Anti-Heroism and Pantomime: Song Kang-Ho and the Uncanny Face of the Korean Cinema
This article explores the trajectory of Song Kang-ho’s on-screen performances from the release of his fourth film, Number 3 (1997), to one of his most recent films, Thirst (2009). As a case study, it reveals new insights about this popular and representative actor’s numerous screen personae and how they have enabled audiences to peer into a cinematic surface that reflects back a mixture of anti-heroism and pantomime. Beneath the many costumes and…
Contemporary Korean Cinema: Challenges and the Transformation of ‘Planet Hallyuwood’
This article examines how the South Korean cinema has undergone a transformation from an ‘antiquated cottage industry’ in the 1980s into a thriving international cinema— albeit with a host of new challenges and tensions—in the ‘post-boom’ years of the 2000s right up to the present. Its analysis of film culture in the 1980s sets the stage for the Korean cinema’s transnational development over the last decade, and points to a longer historical cont…
In Search of the Korean Digital Wave
This article sets the context for this special themed issue on the 'Korean digital wave' by considering the symbiotic relationship between digital technologies, their techniques and practices, their uses and the affordances they provide, and Korea's 'compressed modernity' and swift industrialisation. It underscores the importance of interrogating a range of groundbreaking developments and innovations within Korea's digital mediascapes, and its cr…
Digital Intermediary: Korean Transnational Cinema
Since censorship was lifted in Korea in 1996, collaboration between Korean and foreign filmmakers has grown in both extent and visibility. Korean films have been shot in Australia, New Zealand and mainland China, while the Korean digital post-production and visual effects firms behind blockbusters infused with local effects have gone on to work with filmmakers from greater China and Hollywood. Korean cinema has become known for its universal stor…
Asian interchange: Korean-Hong Kong co-productions of the 1960s
In the 1960s, during the first half of President Park Chung-hee's term of authoritarian government, Korean film-makers pursued a range of international collaborations with one of the most active centres of the Asian film industry: Hong Kong. As a result of domestic economic, political and cultural restrictions, but encouraged by efforts to rapidly industrialize the Korean film industry, these activities involved participation in international fil…
Korea's Occupied Cinemas, 1893-1948: The Untold History of the Film Industry
Korea’s Occupied Cinemas, 1893-1948 compares and contrasts the development of cinema in Korea during the Japanese occupation (1910-1945) and US Army Military (1945-1948) periods within the larger context of cinemas in occupied territories. It differs from previous studies by drawing links between the arrival in Korea of modern technology and ideas, and the cultural, political and social environment, as it follows the development of exhibition, fi…
Power of the Korean Film Producer: Park Chung Hee's Forgotten Film Cartel of the 1960s Golden Decade and its Legacy
After censorship was eliminated in 1996, a new breed of writer-directors created a canon of internationally provocative and visually stunning genre-bending hit films, and new and established producers infused unprecedented venture capital into the local industry. Today, a bevy of key producers, including vertically integrated Korean conglomerates, maintain dominance over the film industry while engaging in a variety of relatively neartransparent …
The Korean "Cinema of Assimilation" and the Construction of Cultural Hegemony in the Final Years of Japanese Rule
During the late 1930s, as Japan escalated war preparations with China, and after GovernorGeneral Minami formalized the assimilationist ideology of "Japan and Korea as One Body", cinema in Korea experienced a fundamental transformation. Korean filmmakers had little choice but to make co-productions that aimed to draw Koreans toward Japanese ways of thinking and living, while promoting a sense of loyalty to the Japanese Empire. Within this colonial…
‘Masking madness with gaiety’: Innovating sound exhibition in Australia and the Royal Commission's failure to prevent the talkie wars
The 1927–1928 Royal Commission on the Moving Picture Industry in Australia sought to strengthen the domestic film industry’s competitiveness against foreign investment, technology and manpower. Although it concluded before the widescale rollout of sound exhibition, it began collecting evidence after the coming of sound had already begun to make waves. Beginning in 1924 and continuing beyond the Commission, agents of the US De Forest Phonofilms co…
"Korean Cinema's Female Writers-Directors and the "Hegemony of Men
The South Korean film industry represents a masculine-privileged gender regime that over the last few decades has shown a newfound strength both at home and abroad. However, challenging this masculine privilege are a growing number of important though unheralded female writers-directors operating in both the independent and commercial sectors of the industry. In this article, the authors present a case study that explores the work of five of thes…
The Changing Face of Korean Cinema: Planet Hallyuwood
The rapid development of Korean cinema during the decades of the 1960s and 2000s reveals a dynamic cinematic history which runs parallel to the nation’s political, social, economic and cultural transformation during these formative periods. This book examines the ways in which South Korean cinema has undergone a transformation from an antiquated local industry in the 1960s into a thriving international cinema in the 21st century. It investigates …
Chinese transnational cinema and the collaborative tilt toward South Korea
To shed light on the important and growing trend in international filmmaking, this chapter investigates the increasing levels of co-operation in co-productions and post-production work between China and Korea since the mid-2000s, following a surge in personnel exchange and technological transfer. It explains how a range of international relationships and industry connections is contributing to a new ecology of expertise, which in turn is boosting…
The Role of Hegemonic Masculinity and Hollywood in the New Korea
We argue that during the 1940s Hollywood films had an important role to play in the creation of a postwar South Korean society based on the new global U.S. hegemony. The connections between political and economic change in South Korea and socio-cultural factors have hitherto scarcely been explored and, in this context, we argue that one of the key socio-cultural mechanisms that supported and even drove social change in the immediate post-war peri…
Film Pioneer Lee Man-hee and the Creation of a Contemporary Korean Cinema Legend
At the peak of Korean cinema's contemporary golden age in the mid-2000s, 1960s auteur director Lee Man-hee and his films were rediscovered and have since become appreciated in ways that Lee himself never experienced. In 2010, his classic Late Autumn was remade as a transnational coproduction for a pan-Asian audience. Four decades after his death, Lee remains one of the most influential directors in Korea's history. To understand his legacy and it…
The Chinese–Korean co-production pact: Collaborative encounters and the accelerating expansion of Chinese cinema
Official film co-production treaties are designed by policymakers to stimulate a range of collaborations, technology transfers, and joint funding initiatives in the industry. Since July 2004, the Chinese government has used this top-down approach to cultural diplomacy as a symbolic tool for advancing Chinese cinema and opening the domestic market to a host of willing international partners. Korean filmmakers in particular have exploited the (ofte…
Transnational collaboration of the multisensory kind: Exploiting Korean 4D cinema in China
This article explores how technicians working in the cinema exhibition arm of the Korean conglomerate CJ Global are pioneering the diffusion of four-dimensional (4D) motion widescreen cinema technology. It analyzes the 4D work-flow processes being developed to connect Asian and Hollywood films with local audiences via motion and environmental special effects, as well as some of the cultural assumptions underlying this new technology transfer. As …
East Asian audio-visual collaboration and the global expansion of Chinese media
This article investigates the significant re-orientation of audio-visual production in East Asia over the last few years brought about by the rise of China, beginning with the proposition that unprecedented change is occurring in East Asian media production. While the 'Sinophone world' has been the locus of critical analysis in the past, all eyes are now focused on China. Flows of knowledge, expertise and content are becoming significant in this …
Asian Culture and Media Studies (31 works) · History (23 works) · Political science (20 works) · Sociology (19 works) · Japanese History and Culture (18 works) · Movie theater (18 works) · Art (15 works) · Law (15 works) · Media studies (14 works) · Art history (12 works)