Korean Cinema at the Honolulu Museum of Art

still from Anarchist from Colony

Anar­chist from Colony

The Cen­ter for Kore­an Stud­ies is join­ing the Hon­olu­lu Muse­um of Art in pre­sent­ing screen­ings of a series of the best new Kore­an films. The series – includ­ing his­tor­i­cal epics, polit­i­cal satires, thought­ful visu­al mas­ter­works, and Kore­an-Amer­i­can inde­pen­dent films – will be shown Sep­tem­ber 2 – 23, 2017, at the Museum’s Doris Duke Theatre. 

Four Uni­ver­si­ty of Hawai’i at Mānoa Kore­an stud­ies fac­ul­ty mem­bers will be intro­duc­ing some of the films: Young-a Park of the Asian Stud­ies Pro­gram, Myungji Yang of the Polit­i­cal Sci­ence Depart­ment, Jude Yang of Hamil­ton Library, and C. Har­ri­son Kim of the Depart­ment of History.

The films in the series are:

  • War­riors of the Dawn (대립군);
  • A Taxi Dri­ver (택시 운전사);
  • The May­or (특별시민);
  • Blue­beard (해빙);
  • The Net (그물);
  • On the Beach at Night Alone (밤의 해변에서 혼자);
  • Right Now, Wrong Then (지금은맞고그때는틀리다);
  • Our Love Sto­ry (연애담);
  • The Bat­tle­ship Island;
  • Anar­chist from Colony (박열); and
  • Gook.

For a com­plete sched­ule of the screen­ings, detailed descrip­tions of the films, and tick­et infor­ma­tion, see https://honolulumuseum.org/16447-korean_cinema_2017.

Tick­ets for most of the films are $12 for gen­er­al admis­sion and $10 for mem­bers of the Hon­olu­lu Muse­um of Art. The excep­tions are the open­ing-night recep­tion on Sep­tem­ber 2, which is $35 ($30), and the show­ing of Right Now, Wrong Then on Sep­tem­ber 10, which is free.

Oth­er spon­sors of the Kore­an cin­e­ma series are the Con­sulate Gen­er­al of the Repub­lic of Korea in Hon­olu­lu, tele­vi­sion sta­tion KBFD, and the Korea Foundation. 

So Long Asleep: Waking the Ghosts of a War

still image from So Long Asleep: Waking the Ghosts of a WarThe Uni­ver­si­ty of Hawai‘i at Mānoa Cen­ters for Kore­an Stud­ies and Japan­ese Stud­ies will present an exhi­bi­tion of the doc­u­men­tary film So Long Asleep: Wak­ing the Ghosts of a War Feb­ru­ary 16, 2017.

This film chron­i­cles a decades-long project to exhume, memo­ri­al­ize, and repa­tri­ate the remains of Kore­ans who died in Hokkai­do while work­ing as forced labor­ers build­ing a dam and work­ing in mines and fac­to­ries in Japan dur­ing the Asia-Pacif­ic War. The project brought stu­dents from Japan and South Korea togeth­er in an effort to exca­vate both remains and his­to­ries and in so doing cre­ate a com­mu­ni­ty of aware­ness and mutu­al respect.

The film­mak­er, David Plath, will appear at the screen­ing, which will take place in the Cen­ter for Kore­an Stud­ies audi­to­ri­um begin­ning at 12 noon. The screen­ing is free and open to all.

Plath, an emer­i­tus pro­fes­sor of anthro­pol­o­gy at the Uni­ver­si­ty of Illi­nois at Urbana-Cham­paign, has taught at the uni­ver­si­ty for thir­ty-five years. He has pub­lished six books and more than six­ty arti­cles in anthro­pol­o­gy and Japan­ese stud­ies. He has been involved in the pro­duc­tion of three dozen doc­u­men­taries about Japan and Thai­land. In 2013, Plath received an award for dis­tin­guished con­tri­bu­tions to Asian Stud­ies from the Asso­ci­a­tion for Asian Studies.

For fur­ther infor­ma­tion, con­tact the Cen­ter for Japan­ese Stud­ies by e-mail at cjs@hawaii.edu or by tele­phone at (808) 956‑2665.

A Story of Separation Next in CKS Film Series

still image from CKS film series entry GilsottumThe third fea­ture in the CKS spring film series, Divid­ed Images, is a sto­ry of young love, sep­a­ra­tion, and final­ly a reunit­ing. Gilsot­tŭm (길소뜸), a 1985 fea­ture by the emi­nent direc­tor Im Kwŏn-t’aek, will be screened Tues­day, March 15, 2016.

The spring series, select­ed by Jude Y. Yang, Kore­an stud­ies librar­i­an at UH Hamil­ton Library, is fea­tur­ing sto­ries that high­light women in Kore­an movies, con­cen­trat­ing par­tic­u­lar­ly on gen­der issues and fem­i­nism in South Kore­an society. 

The sto­ry­line of Gilsot­tŭm: In 1983, when the search for fam­i­lies sep­a­rat­ed dur­ing the Kore­an War is in full swing, Hwa-yŏng, on the rec­om­men­da­tion of her hus­band, vis­its a tele­vi­sion sta­tion in order to find her son, whom she lost in the war. At the sta­tion, she meets Dong-jin, her first love and the father of her son. After trag­ic events in their young lives dur­ing the pre- and post-war peri­ods, Hwa-yŏng and Dong-jin became sep­a­rat­ed and lived sep­a­rate lives for thir­ty-three years. After their encounter at the tele­vi­sion sta­tion, they set out togeth­er to find their son.

Con­tin­ue read­ing

1970s Hostess Melodrama Is Next in Spring Film Series

spring film series presents Yŏng-ja's HeydaysThe Cen­ter for Kore­an Stud­ies spring film series con­tin­ues on Tues­day, Feb­ru­ary 23, 2016, with a screen­ing of the 1975 fea­ture Yŏng-ja’s Hey­days (영자의 전성시대), the best-known work of direc­tor Kim Ho-sŏn and a huge box-office suc­cess when it was released. Yŏng-ja’s Hey­days has come to be con­sid­ered the arche­type of the so-called host­ess melo­dra­ma, a film depict­ing the fall into des­per­a­tion of a young, low­er-class woman.

The spring film series, titled Divid­ed Images: Women in Kore­an Movies, con­cen­trates on gen­der issues and fem­i­nism in South Kore­an soci­ety. The films in the series were select­ed by Jude Y. Yang, Kore­an stud­ies librar­i­an at UH Hamil­ton Library.

The sto­ry line of Yŏng-ja’s Hey­days: After being dis­charged by the army, Chang-su, a body scrub­ber at a pub­lic bath, hap­pens to meet Yŏng-ja at a police sta­tion. Three years ear­li­er, when he was an iron­work­er, he had fall­en in love with Yŏng-ja, then a house­maid for a rich fam­i­ly. After being raped by her employer’s son while Chang-su is in the mil­i­tary, Yŏng-ja starts to work as a bar­maid but quits because she can’t adapt to the job. Then she works as a bus con­duc­tor, but los­es an arm in an acci­dent. She then turns to pros­ti­tu­tion. Chang-su devotes him­self to tak­ing care of her, but Yŏng-ja leaves him out of con­cern for his future. 

Film screen­ings take place in the audi­to­ri­um of the Cen­ter for Kore­an Stud­ies at 1881 East-West Road on the Uni­ver­si­ty of Hawai‘i Mānoa cam­pus and begin at 6:30 p.m. Kore­an films are shown with Eng­lish subtitles.

This series is free and open to all Uni­ver­si­ty of Hawai‘i stu­dents, fac­ul­ty, and staff and to the com­mu­ni­ty at large. The series is sup­port­ed by the Tim­o­thy and Miri­am Wee Memo­r­i­al Fund at the Cen­ter for Kore­an Stud­ies. DVDs used for the film screen­ings are gifts of the Kore­an Film Coun­cil and the Kore­an Film Archive.

For fur­ther infor­ma­tion about the film series, con­tact the Cen­ter for Kore­an Stud­ies at (808) 956‑7041 or Jude Y. Yang (yoonlim@hawaii.edu) at (808) 956‑2319.

Lim­it­ed, paid pub­lic park­ing is avail­able in the park­ing lot adja­cent to the Cen­ter and in oth­er vis­i­tor park­ing lots on cam­pus for $6.00. For more infor­ma­tion about park­ing reg­u­la­tions and loca­tions, con­sult the cam­pus park­ing office Web page.

Call for Papers: The Cold War in Korean Cinemas

poster typical of films portraying the cold war in Korean cinemasOrga­niz­ers of “The Cold War in Kore­an Cin­e­mas,” a one-day work­shop orga­nized part­ly under the aus­pices of the Kore­an Visu­al Cul­tures Cen­ter at Yon­sei Uni­ver­si­ty, invite pro­pos­als from col­leagues, inde­pen­dent schol­ars, and advanced grad­u­ate stu­dents. The work­shop, to be held at Prince­ton Uni­ver­si­ty May 7, 2016, is con­ceived as a venue to bring togeth­er a small num­ber of schol­ars inter­est­ed in inter­dis­ci­pli­nary approach­es to Kore­an cin­e­mas of the Cold War as a peri­od, polit­i­cal for­ma­tion, and dis­cur­sive problem. 

Papers pre­sent­ed at the con­fer­ence will be devel­oped and then con­sid­ered for pub­li­ca­tion in a spe­cial issue of The Jour­nal of Kore­an Stud­ies, sched­uled for print in sum­mer 2017. The guest co-edi­tors will be Steven Chung and Hyun Seon Park, who are also co-orga­niz­ing the workshop.

From the late 1940s to the present, Kore­an cin­e­mas on both sides of the divid­ed penin­su­la have been sat­u­rat­ed not only with signs of nation­al divi­sion but also with a range of sub­tler symp­toms of ide­o­log­i­cal con­flict. These are most salient in films pro­duced at the height of the Cold War era, but are also traced in recent media pro­duc­tions and the poli­cies that gov­ern them. The ways in which Kore­an cin­e­ma and media cul­tures embody, push against, over­turn and, per­haps most impor­tant­ly, con­tin­ue to fore­ground prob­lems of the Cold War mer­it focused atten­tion. Sug­gest­ed top­ics for the work­shop include, but are not lim­it­ed to, cin­e­ma, ide­ol­o­gy, and inter­na­tion­al pow­er rela­tions; glob­al Cold War cin­e­ma pro­to­cols: anti-com­mu­nism and mod­ern­iza­tion; mind, mem­o­ry, and nor­mal­cy; and topol­o­gy and visuality.

Accom­mo­da­tions, all meals, and, under spe­cial cir­cum­stances, the cost of trans­porta­tion will be cov­ered for the work­shop participants. 

Prospec­tive par­tic­i­pants should sub­mit a 300-word abstract and a brief bio­graph­i­cal note by Feb­ru­ary 29, 2016, to work­shop orga­niz­ers Steven Chung (sychung@princeton.edu) and Hyun Seon Park (hyunstime@yonsei.ac.kr).