Hye Jean Chung
Biographic Data
| ID | 3989177 |
|---|---|
| NAME | Hye Jean Chung |
| GIVEN NAMES | Hye Jean |
| FAMILY NAME | Chung |
| SIGNATURE | CHUNG H J |
| AFFILIATIONS | Kyung Hee University in South Korea |
| ORCID | 0000-0002-3017-3565 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
Performing the Global
This article examines how contemporary media art and popular culture, vernacular cultural practices, and digital technologies express and actualize aspirations for global mobility. This task is propelled by the need to question the limited scope of how we envision globalization. Here I explore how people use forms of visual media to “perform the global” through mediated experiences of mobility. I propose the concept of “virtual cosmopolitans” to …
An Economy of Bodily Violence
This essay analyzes Korean films, Traffickers (Gongmojadeul, Hong-seon Kim, 2012), Sea Fog (Haemoo, Sungbo Shim, 2014), and The Yellow Sea (Hwanghae, Na Hong-jin, 2010), to examine the motif of fragmented bodies and perilous cross-border migrations. These films depict vulnerable bodies that are at risk of being brutalized, mutilated, and dismembered according to the calculating logic of global capital
The reanimation of the digital (un)dead, or how to regenerate bodies in digital cinema
Media have complicated relationships with death. Often when a new medium emerges and develops, it is imagined as a channel of contacting, capturing, or otherwise mediating invisible presences. Thematic and visual tropes of ghosts, phantoms, mummies, doppelgangers, and other spectral phenomena have been invoked to describe the uncanny doubling and disembodying effects of photography, cinema, electronic and digital media, as well as visions of the …
Media Heterotopia and Transnational Filmmaking
Focusing on The Fall (Tarsem Singh, 2006), The World (Zhangke Jia, 2004), and Avalon (Mamoru Oshii, 2001), this essay proposes a mode of heterotopic perception and analysis that recognizes the composited layers and material residues of globally dispersed production sites and laboring bodies in mediated transnational spaces
Media Heterotopia and Transnational Filmmaking
Focusing on The Fall (Tarsem Singh, 2006), The World (Zhangke Jia, 2004), and Avalon (Mamoru Oshii, 2001), this essay proposes a mode of heterotopic perception and analysis that recognizes the composited layers and material residues of globally dispersed production sites and laboring bodies in mediated transnational spaces
Media Heterotopia and Transnational Filmmaking
Focusing on The Fall (Tarsem Singh, 2006), The World (Zhangke Jia, 2004), and Avalon (Mamoru Oshii, 2001), this essay proposes a mode of heterotopic perception and analysis that recognizes the composited layers and material residues of globally dispersed production sites and laboring bodies in mediated transnational spaces
The reanimation of the digital (un)dead, or how to regenerate bodies in digital cinema
Media have complicated relationships with death. Often when a new medium emerges and develops, it is imagined as a channel of contacting, capturing, or otherwise mediating invisible presences. Thematic and visual tropes of ghosts, phantoms, mummies, doppelgangers, and other spectral phenomena have been invoked to describe the uncanny doubling and disembodying effects of photography, cinema, electronic and digital media, as well as visions of the …
An Economy of Bodily Violence
This essay analyzes Korean films, Traffickers (Gongmojadeul, Hong-seon Kim, 2012), Sea Fog (Haemoo, Sungbo Shim, 2014), and The Yellow Sea (Hwanghae, Na Hong-jin, 2010), to examine the motif of fragmented bodies and perilous cross-border migrations. These films depict vulnerable bodies that are at risk of being brutalized, mutilated, and dismembered according to the calculating logic of global capital
Performing the Global
This article examines how contemporary media art and popular culture, vernacular cultural practices, and digital technologies express and actualize aspirations for global mobility. This task is propelled by the need to question the limited scope of how we envision globalization. Here I explore how people use forms of visual media to “perform the global” through mediated experiences of mobility. I propose the concept of “virtual cosmopolitans” to …
Art (4 works) · Movie theater (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Art history (2 works) · Asian Culture and Media Studies (2 works) · Cinema and Media Studies (2 works) · Digital media (2 works) · Literature (2 works) · Sociology (2 works)