Aaron Han Joon Magnan-Park
Biographic Data
| ID | 4973685 |
|---|---|
| NAME | Aaron Han Joon Magnan-Park |
| GIVEN NAMES | Aaron Han Joon |
| FAMILY NAME | Magnan-Park |
| SIGNATURE | MAGNAN-PARK A H J |
| AFFILIATIONS | University of Hong Kong |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 0 |
The Desire for a Poly-Asian Continental Film Movement
At present, Asia is the only continent that has not yet produced an inclusive, representational, and emboldening continental film movement to present the concerns that unify its people. At best, Pan-Asian cinema is a regional framework limited to East Asian nations who share economic clout along with a shared Confucian legacy. However, it excludes the rest of greater Asia. The concept of Poly-Asian cinema is introduced as a means to invoke the ne…
The Palgrave Handbook of Asian Cinema
This chapter concerns the definition of Asian cinema, through Arrow Video, Terracotta, and Third Window Films—all UK-based independent film distributors. Arrow locates predominantly Japanese films within its catalogue of world cinema, and emphasizes their status as “art” or “cult.” Terracotta has focused on directors and genres from Hong Kong, Taiwan, Vietnam, and the Philippines. Third Window’s Asian film releases are predominantly from South Ko…
Dubbese fu
Dubbese fu recuperates the dismissal of the ‘poorly dubbed’ English-language voice tracks in the Hong Kong kung fu films that became globally popular and profitable starting in 1973 as a position that improperly valorizes only the perfect lip synchronization version of the audiovisual contract. Instead of one, there is a total of three possibilities with Italy representing a looser version and the films of Hong Kong’s kung fu wave representing th…
Leukocentric Hollywood
Hollywood’s long-standing practice of leukocentrism is condemned as a false and outdated adherence to an aspect of commercial determinism whereby whitewashing a film is held to ensure its profitability, universality, popularity and social meaningfulness, especially when it involves Asian and Asian American characters. Criticism of this practice came to a head in what became known as ‘Alohagate’, which started with the miscasting of Emma Stone in …
Daehan neo-realism and the conundrum of aimless Confucianism in Yu Hyun-Mok’s Obaltan (1961)
Yu Hyun-Mok’s Obaltan (1961) is a paragon of what I will term Daehan Neo-realism, which is a South Korean version of Italian Neo-realism. Daehan Neo-realism introduces a homophonic and homonymic linguistic play involving three distinct types of Korean daehan: (1) 大韓 (the great ethnic Han Koreans), (2) 大漢 (the great ethnic Han Chinese), and (3) 大恨 (the great eternal woe). The goal is to reimagine 大韓 without 大漢 or 大恨. The resulting Confucian conund…
Restoring the Transnational from the Abyss of Ethnonational Film Historiography
Chung Chang Wha is the godfather of Korean action cinema and the director who internationalized Hong Kong action cinema when Five Fingers of Death C. Tian xia di yi quan, King Boxer, K. Chugǔm ǔi tasǒt sonkarak, 1972) became a $12 million global box office sensation. Chung delivered on his xia ethos promise to Hong Kong cinema mogul Sir Run Run Shaw to get the job done, no matter what. Despite Chung's stellar achievement, his rightful status with…
No prominent works on this page.
Restoring the Transnational from the Abyss of Ethnonational Film Historiography
Chung Chang Wha is the godfather of Korean action cinema and the director who internationalized Hong Kong action cinema when Five Fingers of Death C. Tian xia di yi quan, King Boxer, K. Chugǔm ǔi tasǒt sonkarak, 1972) became a $12 million global box office sensation. Chung delivered on his xia ethos promise to Hong Kong cinema mogul Sir Run Run Shaw to get the job done, no matter what. Despite Chung's stellar achievement, his rightful status with…
Daehan neo-realism and the conundrum of aimless Confucianism in Yu Hyun-Mok’s Obaltan (1961)
Yu Hyun-Mok’s Obaltan (1961) is a paragon of what I will term Daehan Neo-realism, which is a South Korean version of Italian Neo-realism. Daehan Neo-realism introduces a homophonic and homonymic linguistic play involving three distinct types of Korean daehan: (1) 大韓 (the great ethnic Han Koreans), (2) 大漢 (the great ethnic Han Chinese), and (3) 大恨 (the great eternal woe). The goal is to reimagine 大韓 without 大漢 or 大恨. The resulting Confucian conund…
The Desire for a Poly-Asian Continental Film Movement
At present, Asia is the only continent that has not yet produced an inclusive, representational, and emboldening continental film movement to present the concerns that unify its people. At best, Pan-Asian cinema is a regional framework limited to East Asian nations who share economic clout along with a shared Confucian legacy. However, it excludes the rest of greater Asia. The concept of Poly-Asian cinema is introduced as a means to invoke the ne…
The Palgrave Handbook of Asian Cinema
This chapter concerns the definition of Asian cinema, through Arrow Video, Terracotta, and Third Window Films—all UK-based independent film distributors. Arrow locates predominantly Japanese films within its catalogue of world cinema, and emphasizes their status as “art” or “cult.” Terracotta has focused on directors and genres from Hong Kong, Taiwan, Vietnam, and the Philippines. Third Window’s Asian film releases are predominantly from South Ko…
Dubbese fu
Dubbese fu recuperates the dismissal of the ‘poorly dubbed’ English-language voice tracks in the Hong Kong kung fu films that became globally popular and profitable starting in 1973 as a position that improperly valorizes only the perfect lip synchronization version of the audiovisual contract. Instead of one, there is a total of three possibilities with Italy representing a looser version and the films of Hong Kong’s kung fu wave representing th…
Leukocentric Hollywood
Hollywood’s long-standing practice of leukocentrism is condemned as a false and outdated adherence to an aspect of commercial determinism whereby whitewashing a film is held to ensure its profitability, universality, popularity and social meaningfulness, especially when it involves Asian and Asian American characters. Criticism of this practice came to a head in what became known as ‘Alohagate’, which started with the miscasting of Emma Stone in …
Asian Culture and Media Studies (5 works) · Art (4 works) · History (4 works) · Hong Kong and Taiwan Politics (4 works) · Law (4 works) · Political science (4 works) · Sociology (4 works) · Art history (3 works) · Literature (3 works) · Media studies (3 works)