- 著者
- 芳賀 恵 玄 武岩
- 出版者
- 北海道大学大学院国際広報メディア・観光学院 = Graduate School of International Media, Communication, and Tourism Studies, Hokkaido University
- 雑誌
- 国際広報メディア・観光学ジャーナル
- 巻号頁・発行日
- vol.26, pp.3-19, 2018-03-20
This article examines the narrow path to de-nationalisation in South Korean films dealing with the Japanese colonial period since the 2000s that we call 'colonial pieces'. Based on Ryu Seung-wan's "Battleship Island" (Gunhamdo, 2017) situated during Korean mobilization under colonial rule, we argue that it is possible to clarify the style and strategy of visual representation used to replace the dichotomy of victimizers (Japan) and victims (Korea) in recent 'colonial piece' films. By focusing on the representation and its stylistic aspects of "Battleship Island" in relation to the empire of Japan through the periodical transition of political, social and cultural meaning, this article explores the way in which these films act on the process of reproducing colonial memories in Korean society and the historical issue between Japan and Korea, as a postcolonial problem of cultural and social politics.
- 著者
- 芳賀 恵 玄 武岩
- 出版者
- 北海道大学大学院国際広報メディア・観光学院
- 雑誌
- 国際広報メディア・観光学ジャーナル
- 巻号頁・発行日
- vol.26, pp.3-19, 2018-03-20
This article examines the narrow path to de-nationalisation in South Korean films dealing with the Japanese colonial period since the 2000s that we call ‘colonial pieces’. Based on Ryu Seung-wan’s “Battleship Island” (Gunhamdo, 2017) situated during Korean mobilization under colonial rule, we argue that it is possible to clarify the style and strategy of visual representation used to replace the dichotomy of victimizers (Japan) and victims (Korea) in recent ‘colonial piece’ films. By focusing on the representation and its stylistic aspects of “Battleship Island” in relation to the empire of Japan through the periodical transition of political, social and cultural meaning, this article explores the way in which these films act on the process of reproducing colonial memories in Korean society and the historical issue between Japan and Korea, as a postcolonial problem of cultural and social politics.
- 著者
- 芳賀 恵 金 周英 玄 武岩
- 出版者
- 北海道大学大学院国際広報メディア・観光学院 = Graduate School of International Media, Communication, and Tourism Studies, Hokkaido University
- 雑誌
- 国際広報メディア・観光学ジャーナル
- 巻号頁・発行日
- no.18, pp.69-90, 2014
This paper examines the cultural meaning in terms of the border transgression of text which arises through the process of remaking video content such as TV dramas in other countries, using a Japanese TV drama "Haken no Hinkaku" and its Korean remake "Shokuba no Kami". "Haken no Hinkaku" is a TV drama which formulated social consciousness in the motif of the change in employment practices in Japan, such as labor dispatch. When it was remade in Korea, the social consciousness did not just project the real world, but covered the relation outside of the text, functioning as a motive of a stir in society, or evocation of public opinion. In this paper, the point where the social consciousness arises was studied by the comparative analyses of the text in both TV productions. It revealed that the original work had been transformed into a dissimilar TV drama by the shift in the characteristics of the protagonist. As a result, it has become certain that a remake gives new significance to the original by 'localization' of the original as well as reproduces it in the capacity of cultural practice.
- 著者
- 芳賀 恵
- 出版者
- 社団法人情報科学技術協会
- 雑誌
- 情報の科学と技術 (ISSN:09133801)
- 巻号頁・発行日
- vol.62, no.7, pp.308-311, 2012-07-01
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