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By Hyon Joo Yoo

In Cinema on the Crossroads: state and the topic in East Asian Cinema, Hyon Joo Yoo argues that East Asian studies of colonialism and postcolonialism demand a special conceptualization of postcoloniality, subjectivity, and the state. via its analyses of eastern, Korean, and Taiwanese cinemas, this attractive learn of cinema and tradition charts the ways that nationwide cinemas visualize colonial and postcolonial stipulations that derive from the heritage of jap colonialism and the post-war alliance among Japan and the U.S..

What does it suggest to reconsider postcolonial experiences via East Asian cinema and adventure? Yoo pursues this query by way of bringing an East Asian postcolonial framework, the concept of movie as a manifestation of nationwide tradition, and the method of psychoanalysis to undergo on a failed hegemonic topic. Cinema on the Crossroads is a profound look at how cinema and nationwide tradition intertwine with hegemony and power.

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Extra resources for Cinema at the Crossroads: Nation and the Subject in East Asian Cinema

Sample text

To explore this position I will begin by looking at the selfannihilation in a popular Japanese cult movie, Battle Royale (Fukasaku Kinji 2000), which portrays the Japanese state as a fascist regime that systematically eliminates its unworthy citizens. In this film, each year a class of ninth graders is randomly selected, captured, and sent to an isolated island that is turned into a camp by the state and run by the military. The captured are forced to engage in a battle among themselves for three days until a single survivor, who has successfully killed off the others, remains and is allowed to leave the island alive.

In particular, I look at Hou Hsiao-hsien’s formalistic vision of cinematic space, and at South Korean filmmaker Pak Ch’an-uk’s visu- 24 Introduction alization of an excessive violence that overwhelms cinematic space, in order to highlight ‘the invisible’ as a counter-hegemonic cinematic practice. ” I theorize this core concept of my book’s critical intervention, namely moribund masculinity, through analyses of cultural phenomena in modern South Korea and contemporary South Korean cinema. In chapter 4, through a close reading of Tsai Ming-liang’s films, I expand the concept of moribundity I articulate in chapter 3 into a critical framework useful for analyzing the politics of gender and nation throughout East Asian national cinemas.

This is the juncture in which the subject is reconstituted by re-cathecting the self to the ego-ideal of the Hegelian master, which for Japanese neo-nationalism is incarnated by the emperor, a figure who embodies the Japanese national body itself and represents the collective national self. The efficacy of Japanese Orientalism both in the colonial metropolis and the postcolony depends on its capability to turn the subject’s initial withdrawal from the Other into a dynamic re-cathexis to a Hegelian master figure through which the sense of a unified nation and national subject can be recuperated.

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