Hye Seung Chung
Biographic Data
| ID | 3766513 |
|---|---|
| NAME | Hye Seung Chung |
| GIVEN NAMES | Hye Seung |
| FAMILY NAME | Chung |
| SIGNATURE | CHUNG H S |
| AFFILIATIONS | Schlumberger (Ireland) |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
Hollywood Diplomacy
Hollywood Diplomacy contends that, rather than simply reflect the West’s cultural fantasies of an imagined “Orient,” images of Chinese, Japanese, and Korean ethnicities have long been contested sites where the commercial interests of Hollywood studios and the political mandates of U.S. foreign policy collide, compete against one another, and often become compromised in the process. While tracing both Hollywood’s internal foreign relations protoco…
Multiculturalism as “New Enlightenment”
This article examines the commercially successful multicultural film Punch (Wan-dŭk i, Yi Han, 2011) as an example of new “enlightenment” (kaemong) cinema, one that—like its precedents in the South Korean Golden Age cinema of the 1950s and 1960s—supports the official government policy. While classic enlightenment films made during the Cold War era endorsed state-sanctioned narratives of anticommunism, modernization, and development, Punch toes th…
Hollywood Diplomacy and The Purple Heart (1944)
This essay examines the relationship between film regulation and foreign relations, using Twentieth Century-Fox’s World War II film The Purple Heart (Lewis Milestone, 1944) as a case study. Drawing upon archival documents from the Production Code Administration and the Office of War Information, it defines film regulation as a facilitator of wartime international relations and a contributor to ‘political correctness’ regarding images of racial mi…
The omnibus film as message picture
This essay uncovers the production and reception history of It’s a Big Country (1951), a multi-director M-G-M film that explores the interwoven issues of nationhood, citizenship and cultural diversity during the cold war era. Produced by the liberal studio chief Dore Schary, who referred to the film as a ‘propaganda picture’ and a ‘message picture,’ It’s a Big Country is a contradictory text that explicitly upholds the cold war mandate of inclusi…
Kim Ki-duk
This study investigates the controversial motion pictures written and directed by the independent filmmaker Kim Ki-duk, one of the most acclaimed Korean auteurs in the English-speaking world. Propelled by underdog protagonists who can only communicate through shared corporeal pain and extreme violence, Kim's graphic films have been classified by Western audiences as belonging to sensationalist East Asian “extreme” cinema, and Kim has been labeled…
The Man with No Home/Musukja (1968)
This essay introduces the “Manchurian Western” genre of South Korean cinema and illustrates, through a comparative scene-by-scene analysis, semantic, syntactic, and pragmatic reworkings of George Stevens's 1953 classic Shane exhibited in the 1968 Korean Western The Man with No Home, set in Manchuria during the 1930s
Beyond “Extreme”
Beyond “Extreme”: Rereading Kim Ki-duk’s Cinema of Ressentiment Hye Seung Chung (bio) Beginning in the 1950s and 60s, the films of Kurosawa Akira, Ozu Yasujiro, and Mizoguchi Kenji entered the Western canon of East Asian cinema under the various rubrics associated with auteurism and art cinema. Throughout the 1980s and 90s, Fifth-Generation Chinese filmmakers such as Zhang Yimou and Chen Kaige rose to international fame for their exotic, ethnogra…
Beyond “Extreme”
Research Article| April 01 2010 Beyond "Extreme": Rereading Kim Ki-duk's Cinema of Ressentiment HYE SEUNG CHUNG HYE SEUNG CHUNG HYE SEUNG chung is assistant professor in the Department of American Studies at the University of Hawaii at Manoa. She is the author of Hollywood Asian: Philip Ahn and the Politics of Cross-Ethnic Performance (Temple UP, 2006). Her scholarship on Korean cinema has been published in such journals and anthologies as Asian …
Portrait of a Patriot's Son
This essay examines the life and career of Philip Ahn (1905–78), the first Korean American actor to appear in Hollywood movies. His on-screen and off-screen personas are situated in a transnational context of Korean colonial diaspora in hopes of recuperating his pioneering status in both American and South Korean film industries
Hollywood Asian
Hollywood goes to Korea
Hollywood goes to Korea
Portrait of a Patriot's Son
This essay examines the life and career of Philip Ahn (1905–78), the first Korean American actor to appear in Hollywood movies. His on-screen and off-screen personas are situated in a transnational context of Korean colonial diaspora in hopes of recuperating his pioneering status in both American and South Korean film industries
Hollywood Asian
Beyond “Extreme”
Beyond “Extreme”: Rereading Kim Ki-duk’s Cinema of Ressentiment Hye Seung Chung (bio) Beginning in the 1950s and 60s, the films of Kurosawa Akira, Ozu Yasujiro, and Mizoguchi Kenji entered the Western canon of East Asian cinema under the various rubrics associated with auteurism and art cinema. Throughout the 1980s and 90s, Fifth-Generation Chinese filmmakers such as Zhang Yimou and Chen Kaige rose to international fame for their exotic, ethnogra…
Beyond “Extreme”
Research Article| April 01 2010 Beyond "Extreme": Rereading Kim Ki-duk's Cinema of Ressentiment HYE SEUNG CHUNG HYE SEUNG CHUNG HYE SEUNG chung is assistant professor in the Department of American Studies at the University of Hawaii at Manoa. She is the author of Hollywood Asian: Philip Ahn and the Politics of Cross-Ethnic Performance (Temple UP, 2006). Her scholarship on Korean cinema has been published in such journals and anthologies as Asian …
The Man with No Home/Musukja (1968)
This essay introduces the “Manchurian Western” genre of South Korean cinema and illustrates, through a comparative scene-by-scene analysis, semantic, syntactic, and pragmatic reworkings of George Stevens's 1953 classic Shane exhibited in the 1968 Korean Western The Man with No Home, set in Manchuria during the 1930s
Kim Ki-duk
This study investigates the controversial motion pictures written and directed by the independent filmmaker Kim Ki-duk, one of the most acclaimed Korean auteurs in the English-speaking world. Propelled by underdog protagonists who can only communicate through shared corporeal pain and extreme violence, Kim's graphic films have been classified by Western audiences as belonging to sensationalist East Asian “extreme” cinema, and Kim has been labeled…
The omnibus film as message picture
This essay uncovers the production and reception history of It’s a Big Country (1951), a multi-director M-G-M film that explores the interwoven issues of nationhood, citizenship and cultural diversity during the cold war era. Produced by the liberal studio chief Dore Schary, who referred to the film as a ‘propaganda picture’ and a ‘message picture,’ It’s a Big Country is a contradictory text that explicitly upholds the cold war mandate of inclusi…
Multiculturalism as “New Enlightenment”
This article examines the commercially successful multicultural film Punch (Wan-dŭk i, Yi Han, 2011) as an example of new “enlightenment” (kaemong) cinema, one that—like its precedents in the South Korean Golden Age cinema of the 1950s and 1960s—supports the official government policy. While classic enlightenment films made during the Cold War era endorsed state-sanctioned narratives of anticommunism, modernization, and development, Punch toes th…
Hollywood Diplomacy and The Purple Heart (1944)
This essay examines the relationship between film regulation and foreign relations, using Twentieth Century-Fox’s World War II film The Purple Heart (Lewis Milestone, 1944) as a case study. Drawing upon archival documents from the Production Code Administration and the Office of War Information, it defines film regulation as a facilitator of wartime international relations and a contributor to ‘political correctness’ regarding images of racial mi…
Hollywood Diplomacy
Hollywood Diplomacy contends that, rather than simply reflect the West’s cultural fantasies of an imagined “Orient,” images of Chinese, Japanese, and Korean ethnicities have long been contested sites where the commercial interests of Hollywood studios and the political mandates of U.S. foreign policy collide, compete against one another, and often become compromised in the process. While tracing both Hollywood’s internal foreign relations protoco…
Art (9 works) · Art history (8 works) · History (7 works) · Japanese History and Culture (7 works) · Asian Culture and Media Studies (6 works) · Law (6 works) · Literature (5 works) · Movie theater (5 works) · Political science (5 works) · Sociology (5 works)