The new wave of Korean cinema has presented a series of distinct genre productions, which are influenced by contemporary Japanese horror cinema and traditions of the Gothic. Ahn Byeong-ki is one of Korea‘s most notable horror film directors, having made four Gothic horrors between 2000 and 2006. These transnational horrors, tales of possession and avenging forces, have repeatedly been drawn to issues of modernity, loneliness, identity, gender, and suicide. Focusing on the figure of the ghostly woman, and the horrors of modern city life in Korea, this essay considers the style of filmmaking employed by Ahn Byeong-ki in depicting, in particular, the Gothic revelation.
area as the Birds of Europe, as well as Asia south to Afghanistan, the Himalayas, Tibet, China, Korea and Japan. He produced brief accounts incorporating the most recent discoveries, covering the birds’ distribution and habitat, and wrote pithy descriptions of their different plumages, nests and eggs. Descriptions of birds were mostly taken from specimens in Dresser’s own collection. He also consulted specimens belonging to Walter Rothschild and the BM(NH) for those species he did not possess, although this involved some difficulty, as he outlined to Ernst Hartert in
thinking about the gothic in an age of globalisation and cosmopolitanism: one which is best expressed by the term globalgothic. The films discussed in this chapter are the award-winning portmanteau Kwaidan ( Kaidan , Masaki Kobayashi, Japan: 1964 ) and A Tale of Two Sisters ( Janghwa Hongryeon , Kim Jee-woon, South Korea: 2003 ), two films that exemplify the merging of the global with the
Prize for Fiction is awarded each year to a fiction that explores American life. The 2013 winner, Adam Johnson’s The Orphan Master’s Son (2012), may at first sight seem an unlikely candidate because the novel is set mainly in North Korea, where the orphan protagonist Jun Do grows up in an orphanage called Long Tomorrows. Because he is an orphan, he suffers hardship and hunger, is scorned by and excluded from society, yet his expendability makes him useful to the regime. In his teens, Jun Do is trained as a tunnel soldier, and as an adult he becomes a Taekwondo expert
economically privileged Asian countries, such as Japan, Taiwan or South Korea, three countries identified as major beneficiaries in the films. Last but not least, the chapter offers a reading of the potentially gothic figures of vengeance appearing in the films (ghosts, resurrected neo-humans, victims-turned-abusers) in terms of a narrative strategy of resistance devised to empower the
-scale discrimination and abandonment of Korean GI-babies in the wake of the Korean War – i.e., children of American fathers and Korean mothers. The internationalization of adoption was inspired by religion rather than science, more specifically by Christian Americanism, a culture religion that fused a selection of vaguely outlined Christian principles with specifically American values, most notably a paternal sense of
Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.
serious dilemmas, notably ‘Korea’, where a young man considers emigration to America. The basic plot is the attempt by a father to enlist his son in the United States military. The father presents this as an opportunity to escape Ireland, having served himself in the War of Independence. He is haunted by his memory of an execution, and the opening paragraphs of the story owe much again to O’Malley and to Joyce. The son is reticent and then determined after he hears his father discuss the money a neighbour received after his own son was killed in Korea. The translation
. The free development and articulation of the individual could only be realised by the free development and articulation of all, as Wilde had proposed. We could continue with other examples of transculturation between the Victorians and other modernising cultures. During Korea’s colonial period under the Japanese, the Theatre Arts Research Association (TARA 1931–39) leaders Yu Ch’ijin and Ham Sedŏk drew on the Irish Renaissance/Celtic Twilight ‘to establish a New Drama in Korea’ (Hwang, 2012 ). Between 1910
who mocked him were unwittingly correct; his head is indeed full of holes that have been patched with plates. ‘It was all the doctors could do for me after the war!’ he tells the reader.1 Swilbur, then, is likely a veteran of either the Second World War or the Korean War. He bears emotional and physical wounds from combat and suffers humiliation and emasculation in his postwar life as a result. He has returned to a society that cannot accommodate his injuries and offers him neither understanding nor respect. He is spurned by women who appear to be far healthier