Jinhee Choi

A Master and His Influence

Reorienting Ozu

local hitmakers, global provocateurs

The South Korean film renaissance

Mattias Frey

This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators’ affective and emotional engagement with film, which can function as a moral ground for one’s connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first volumes to open up a dialogue among these diverse methodologies. Contributors bring to the fore some of the assumptions implicitly shared between these theories and forge a new relationship between them in order to explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films

Ethical Dimensions of Film Theory, Practice, and Spectatorship

Cine-Ethics

Introduction / Jinhee Choi -- Branding ozu. Watch again! look well! look! / David Bordwell -- Ozu, the ineffable? / Darrell W Davis -- Ozu to Asia via Hasumi / Aaron Gerow -- A dialogue with "memory" in Hou Hsiao Hhsien's Café lumière / Mitsuyo Wada-Marciano -- Ozuesque as a sensibility: or on the notion of influence / Jinhee Choi -- Historicizing Ozu. A new form of silent cinema: intertitles and interlocutions in Ozu Yasujiro's late silent films / Michael Raine -- Ozu and the aesthetics of shadow: lighting and cinematography in There was a father (Chichi ariki, 1942) / Daisuke Miyao -- Modernity, shoshimin films and the proletarian-film movement: Ozu in dialogue with Vertov / Yuki Takinami -- Laughing in the shadows of empire: humor in Ozu's Brothers and sisters of the Toda family / Junji Yoshida -- Tracing ozu. Autumn afternoons: negotiating the ghost of Ozu in Iguchi Nami's Dogs and cats / Adam Bingham -- Playing the holes: notes on the Ozuesque gags / Manuel Garin & Albert Elduque -- Rhythm, texture, moods: Ozu Yasujiro, Claire Denis and a vision of a post-colonial aesthetic / Kate Taylor-Jones -- Wenders travels with Ozu / Mark Betz -- Look? optical / Sound Situations and Interpretation: Ozu (Deleuze) Kiarostami / David Deamer -- Sparse or slow: Ozu and Joanna Hogg / William Brown

For the past decade, the Korean film industry has enjoyed a renaissance. With innovative storytelling and visceral effects, Korean films not only have been commercially viable in the domestic and regional markets but also have appealed to cinephiles everywhere on the international festival circuit. This book provides both an industrial and an aesthetic account of how the Korean film industry managed to turn an economic crisis—triggered in part by globalizing processes in the world film industry—into a fiscal and cultural boom. Jinhee Choi examines the ways in which Korean film production companies, backed by affluent corporations and venture capitalists, concocted a variety of winning production trends. Through close analyses of key films, Choi demonstrates how contemporary Korean cinema portrays issues immediate to its own Korean audiences while incorporating the transnational aesthetics of Hollywood and other national cinemas such as Hong Kong and Japan. Appendices include data on box office rankings, numbers of films produced and released, market shares, and film festival showings.

Local Hitmakers, Global Provocateurs

The South Korean Film Renaissance

Noël Carroll

Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding the viewingof pornography Replete with examples and discussion of moving picturesthroughout

An Anthology

Philosophy of Film and Motion Pictures

Mitsuyo Wada-Marciano

This book compares production and consumption of Asian horror cinemas in different national contexts and their multidirectional dialogues with Hollywood and neighboring Asian cultures. Individual essays highlight common themes including technology, digital media, adolescent audience sensibilities, transnational co-productions, pan-Asian marketing techniques, and variations on good vs. evil evident in many Asian horror films. Contributors include Kevin Heffernan, Adam Knee, Chi-Yun Shin, Chika Kinoshita, Robert Cagle, Emilie Yeh Yueh-yu, Neda Ng Hei-tung, Hyun-suk Seo, Kyung Hyun Kim, and Robert Hyland.

Jinhee Choi

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