Junghyun Hwang
Biographic Data
| ID | 6023017 |
|---|---|
| NAME | Junghyun Hwang |
| GIVEN NAMES | Junghyun |
| FAMILY NAME | Hwang |
| SIGNATURE | HWANG J |
| AFFILIATIONS | Hansung University |
| ORCID | 0000-0002-6370-1184 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Bearing the Brunt of the Cold War
Arthur Miller’s unproduced screenplay The Hook was aborted prematurely under the pressures of complex political and personal circumstances in the early 1950s, splitting into two works: Elia Kazan’s 1954 film On the Waterfront and Miller’s 1955 play A View from the Bridge. Questions have arisen about the similarities between Kazan’s film and Miller’s unmade movie, with scholars exchanging critical attacks over plagiarism charges. By revisiting the…
Tituba, “Dark Eve” in the Origins of the American Myth
Recasting the Salem witchcraft trials in light of Walter Benjamin’s theses on historiography, this paper revisits the question of history by examining ways in which Tituba is dis/con-figured as the subject of American history in Arthur Miller’s The Crucible and Maryse Condé’s I, Tituba, Black Witch of Salem. Both stories of persecution revolve around the figure of Tituba, a slave from the Caribbean to whom the beginning of the witch trials is att…
Identifying the Genre of The Journals of Musan as Ontological Affective Realism
This article undertakes an intertextual reading of French film critic André Bazin’s “The Ontology of the Photographic Image” (1945) and the South Korean film The Journals of Musan (2010). It identifies the genre of The Journals of Musan as ontological affective realism through the film’s symmetrical comparability with Bazin’s theory of cinema. Ontological affective realism is a label applied by this article to a typology of art denoting a film-te…
Rupturing Salem, Reconsidering Subjectivity
The Salem witch-hunt, invoking the “red hunt” analogy of the McCarthy era, has been a persistent metaphor for persecution, a symbol of fanatic excess in policing the community boundaries. In American cultural history, however, Salem is regarded American only insofar as it proves un-American—as an exception to American exceptionalism. In particular, Tituba, the only non-white “witch” of the trials to whom the unleashing of the hysteria itself has …
I’ve Got a Hunch We’re Going Around in Circles”
Hollywood Korean War films primarily aimed at integrating American citizenry into national narratives of cohesion and teleology by displacing contradictions onto the exteriority of American identity. The films dismiss the Korean War as not worth fighting for, yet simultaneously propose that fighting is the only viable option to cope with the futility of war. This paper argues that this closed rationality of we-fight-simply-because-we-fight is a s…
From the End of History to Nostalgia
This article puts the cold war in a broader historical perspective by juxtaposing the original Hollywood film The Manchurian Candidate (1962) with the 2004 remake as an occasion to ponder the (dis)continuities of history from the Korean War to the Gulf War. It reads both versions as nostalgia films in that they relegate the historical events of the Korean War and the Gulf War into floating background images as the sexualized/feminized Asian other…
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From the End of History to Nostalgia
This article puts the cold war in a broader historical perspective by juxtaposing the original Hollywood film The Manchurian Candidate (1962) with the 2004 remake as an occasion to ponder the (dis)continuities of history from the Korean War to the Gulf War. It reads both versions as nostalgia films in that they relegate the historical events of the Korean War and the Gulf War into floating background images as the sexualized/feminized Asian other…
I’ve Got a Hunch We’re Going Around in Circles”
Hollywood Korean War films primarily aimed at integrating American citizenry into national narratives of cohesion and teleology by displacing contradictions onto the exteriority of American identity. The films dismiss the Korean War as not worth fighting for, yet simultaneously propose that fighting is the only viable option to cope with the futility of war. This paper argues that this closed rationality of we-fight-simply-because-we-fight is a s…
Rupturing Salem, Reconsidering Subjectivity
The Salem witch-hunt, invoking the “red hunt” analogy of the McCarthy era, has been a persistent metaphor for persecution, a symbol of fanatic excess in policing the community boundaries. In American cultural history, however, Salem is regarded American only insofar as it proves un-American—as an exception to American exceptionalism. In particular, Tituba, the only non-white “witch” of the trials to whom the unleashing of the hysteria itself has …
Identifying the Genre of The Journals of Musan as Ontological Affective Realism
This article undertakes an intertextual reading of French film critic André Bazin’s “The Ontology of the Photographic Image” (1945) and the South Korean film The Journals of Musan (2010). It identifies the genre of The Journals of Musan as ontological affective realism through the film’s symmetrical comparability with Bazin’s theory of cinema. Ontological affective realism is a label applied by this article to a typology of art denoting a film-te…
Tituba, “Dark Eve” in the Origins of the American Myth
Recasting the Salem witchcraft trials in light of Walter Benjamin’s theses on historiography, this paper revisits the question of history by examining ways in which Tituba is dis/con-figured as the subject of American history in Arthur Miller’s The Crucible and Maryse Condé’s I, Tituba, Black Witch of Salem. Both stories of persecution revolve around the figure of Tituba, a slave from the Caribbean to whom the beginning of the witch trials is att…
Bearing the Brunt of the Cold War
Arthur Miller’s unproduced screenplay The Hook was aborted prematurely under the pressures of complex political and personal circumstances in the early 1950s, splitting into two works: Elia Kazan’s 1954 film On the Waterfront and Miller’s 1955 play A View from the Bridge. Questions have arisen about the similarities between Kazan’s film and Miller’s unmade movie, with scholars exchanging critical attacks over plagiarism charges. By revisiting the…
Art (5 works) · Literature (5 works) · Art history (4 works) · History (4 works) · Aesthetics (3 works) · History (3 works) · Law (3 works) · Philosophy (3 works) · Psychology (3 works) · Epistemology (2 works)