Kelly Jeong
Biographic Data
| ID | 9620924 |
|---|---|
| NAME | Kelly Jeong |
| GIVEN NAMES | Kelly |
| FAMILY NAME | Jeong |
| SIGNATURE | JEONG K |
| AFFILIATIONS | University of California, Riverside |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
Parameters of Disavowal
Jinsoo An claims in his book Parameters of Disavowal: Colonial Representation in South Korean Cinema that “the visualization of colonial space as the contentious site of both domination and incessant challenges to that domination informs the most enduring postcolonial imaginary of colonialism onscreen” (8). Captured in his brief analysis of the visual facade in Im Kwon-taek’s 1978 film The Genealogy is a critique of the ways in which postcolonial…
Nation Rebuilding and Postwar South Korean Cinema
This paper examines two remarkable films from the Golden Age of South Korean cinema (1955–1972) against the larger sociocultural backdrop of postwar South Korea. The films Mabu (The Coachman, Kang Taejin, director 1961) and Obalt’an (The Stray Bullet, Yu Hyônmok, director 1961) came out at a crucial historical moment for South Korea ’s nation rebuilding and postwar industrialization efforts, and reveal much about Korea’s nationhood, its masculine…
No prominent works on this page.
Nation Rebuilding and Postwar South Korean Cinema
This paper examines two remarkable films from the Golden Age of South Korean cinema (1955–1972) against the larger sociocultural backdrop of postwar South Korea. The films Mabu (The Coachman, Kang Taejin, director 1961) and Obalt’an (The Stray Bullet, Yu Hyônmok, director 1961) came out at a crucial historical moment for South Korea ’s nation rebuilding and postwar industrialization efforts, and reveal much about Korea’s nationhood, its masculine…
Parameters of Disavowal
Jinsoo An claims in his book Parameters of Disavowal: Colonial Representation in South Korean Cinema that “the visualization of colonial space as the contentious site of both domination and incessant challenges to that domination informs the most enduring postcolonial imaginary of colonialism onscreen” (8). Captured in his brief analysis of the visual facade in Im Kwon-taek’s 1978 film The Genealogy is a critique of the ways in which postcolonial…
Aesthetics (2 works) · Art (2 works) · Asian Culture and Media Studies (2 works) · History (2 works) · Ideology (2 works) · Japanese History and Culture (2 works) · Korean Peninsula Historical and Political Studies (2 works) · Law (2 works) · Movie theater (2 works) · Political science (2 works)