Communications

Download Cinema at the Crossroads: Nation and the Subject in East by Hyon Joo Yoo PDF

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 unique conceptualization of postcoloniality, subjectivity, and the state. via its analyses of eastern, Korean, and Taiwanese cinemas, this enticing research of cinema and tradition charts the ways that nationwide cinemas visualize colonial and postcolonial stipulations that derive from the background of eastern colonialism and the post-war alliance among Japan and the USA.

What does it suggest to reconsider postcolonial stories via East Asian cinema and event? Yoo pursues this query through bringing an East Asian postcolonial framework, the inspiration of movie as a manifestation of nationwide tradition, and the method of psychoanalysis to endure on a failed hegemonic topic. Cinema on the Crossroads is a profound investigate how cinema and nationwide tradition intertwine with hegemony and power.

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Example text

13 The pornographic vision in which the contextual relation between the subject and object is cropped off from the mise-en-scène works to erase the Other from the subject’s field of vision rather than revealing the inner structure of the gazing subject, as produced by a specific Japanese postmodernity, for instance. In other words, it is primarily about the narcissistic subject’s enjoyment in which the colonizing gaze controls the presence and absence of the colonized Other in the relation of looking, generating a kind of pleasure of fort-da.

His acting is controlled and realistic, with extremely economized movement, geared toward developing characters that do not conform to typology. However, across Kurosawa’s body of work, Yakusho’s welldeveloped characters can be deemed to be variations of the lost man type, which is the allegorical core of Kurosawa’s work. While his films refuse to participate in the cultural event in which the nation and national subject are fantastically constituted, they also avoid reading 34 Chapter One postcolonial Japan contextually, and thus illness remains without context.

His acting is controlled and realistic, with extremely economized movement, geared toward developing characters that do not conform to typology. However, across Kurosawa’s body of work, Yakusho’s welldeveloped characters can be deemed to be variations of the lost man type, which is the allegorical core of Kurosawa’s work. While his films refuse to participate in the cultural event in which the nation and national subject are fantastically constituted, they also avoid reading 34 Chapter One postcolonial Japan contextually, and thus illness remains without context.

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