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Class is one of the foremost factors in the formation of cultural identities of contemporary Koreans living as a divided nation. Class conflict was a major contributor to the breakout of the Korean War, 1 and the ongoing confrontation between North and South is, arguably, the manifestation of their fundamentally irreconcilable stances on class issues. Class defines Koreans’ selfhood in both personal
The need for a single public culture - the creation of an authentic identity - is fundamental to our understanding of nationalism and nationhood. This book considers how manufactured cultural identities are expressed. It explores how notions of Britishness were constructed and promoted through architecture, landscape, painting, sculpture and literature, and the ways in which the aesthetics of national identities promoted the idea of nation. The idea encompassed the doctrine of popular freedom and liberty from external constraint. Particular attention is paid to the political and social contexts of national identities within the British Isles; the export, adoption and creation of new identities; and the role of gender in the forging of those identities. The book examines the politics of land-ownership as played out within the arena of the oppositional forces of the Irish Catholics and the Anglo-Irish Protestant ascendancy. It reviews the construction of a modern British imperial identity as seen in the 1903 durbar exhibition of Indian art. The area where national projection was particularly directed was in the architecture and the displays of the national pavilions designed for international exhibitions. Discussions include the impact of Robert Bowyer's project on the evolution of history painting through his re-representation of English history; the country houses with architectural styles ranging from Gothic to Greek Revivalist; and the place of Arthurian myth in British culture. The book is an important addition to the field of postcolonial studies as it looks at how British identity creation affected those living in England.
Halit Refiğ had impact on debates around Turkish national cinema both as a thinker and as a practitioner. Instrumental in establishing the Turkish Film Institute under MSU along with his director colleagues like Metin Erksan and Lutfi Akad, Refiğ lectured for many years at the first cinema training department. This translation is from his 1971 collection of articles titled Ulusal Sinema Kavgasi (Fight For National Cinema). Here Refiğ elaborates on the concept of national cinema from cultural perspectives framing Turkey as a continuation of Ottoman Empire and its culture distinct and different from western ideas of capitalism, bourgeoisie art and Marxism. For Refiğ, Turkish cinema should be reflected as an extension of traditional Turkish arts. Refiğ explores the potential to form a national cinema through dialogue,and dialectic within Turkish traditional arts and against western cinematic traditions of representation.
This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.
. Moreover, important topics or questions remain to be explored by further research, including the practical ways in which humanitarianism can engage in gender-transformative action, its complementarity to the longstanding work of feminist activists, and the relationship between humanitarian action and other cultural identity factors, such as race, ethnicity, class, caste, age, disability and legal status. Definitions Building on Enloe (2004 : 4
Film in Korea has always been under governmental censorship. This book examines the ways in which Korean film reveals the ideological orientation of the society in which it is created and circulated. It examines the social and political milieu in which the Korean film industry developed from its beginning during the Japanese colonial period to its bifurcation into South and North Korean cinemas. The book presents a critical analysis of the selected films, which were all made between 1960 and 1990. It discusses the cultural identity of contemporary Koreans by analysing five films based on a popular traditional folk tale, Ch'unhyangjŏn. Three of the five films were made in South Korea: Shin Sangok's Song Ch'unhyang, Pak T'ae-wŏn's The Tale of Song Ch'unhyang and Han Sanghun's SongCh'unhyang. The significance of gender and class issues in Ch'unhyangjŏn can be glimpsed through the three variants of the film title. The book then examines the notion of nationhood held by contemporary Koreans from two interrelated perspectives, political and cultural. It explores the films in relation to the conflicting ideological orientations of North and South Korea. In the North Korean films, anti-imperialism constitutes the core of their definition of nationhood. Class is one of the foremost factors in the formation of cultural identities of contemporary Koreans living as a divided nation. The book discusses six films in this context: The Untrodden Path, The Brigade Commander's Former Superior, Bellflower, A Nice Windy Day, Kuro Arirang and Black Republic.
Adjusting the contrast National and cultural identity, ethnicity and difference have always been major themes within the national psyche. People are witnessing the rise and visibility of far-right politics and counter-movements in the UK and USA. Simultaneously, there is an urgent need to defend the role of public service media. This book emerges at a time when these shifts and conjunctures that impact on and shape how 'race' and racial difference are perceived. They are coinciding with rapidly changing media contexts and environments and the kinds of racial representations that are constructed within public service broadcasting (PSB), specifically the BBC and Channel 4. The book explores a range of texts and practices that address the ongoing phenomenon of race and its relationship to television. Policies and the management of race; transnationalism and racial diversity; historical questions of representation; the myth of a multicultural England are also explored. It interrogates three television primarily created by women, written by women, feature women in most of the lead roles, and forcefully reassert the place of women in British history. The book contributes to the range of debates around television drama and black representation, examining BBC's Shoot the Messenger and Top Boy. Finally, it explores some of the history that led to the belated breakthrough of Black and Asian British comedy. The book also looks at the production of jokes about race and colour prior to the 1980s and 1990s, and questioning what these jokes tell us about British multiculturalism in this period.
Spain as an entity and Spanish cultural identity are no less difficult to pin down as the concept of the nation state is simultaneously assailed by political, economic and cultural globalisation and the fragmentation of the state by the demands of its autonomous communities. This book presents a coherent picture of the main narrative, thematic, stylistic and representational trends which have characterised the recent cinema produced in Spain. It seeks to explore the obsession of Spanish cinema with the past and its role as part of a wider recuperation industry. The book examines the varied forms of historical cinema ranging from literary adaptation and period drama to retro thriller and musical. It offers an analysis of other main forms of genre cinema which have dominated the commercial industry and the popular imagination in Spain since the 1970s. The book explores constructions of gender and sexuality across a wide range of examples taken from a variety of contemporary movies. It also focuses on cinema in the autonomous communities, mainly Catalonia and the Basque Country. The period 1993 to 1994 was perhaps one of the most difficult for the film industry in post-Franco Spain, particularly in relation to production totals and audience figures. The setting Institut de Cinema Catalá offered a new forum for debate and inaugurated the first of a number of attempts to define what Catalan film and a Catalan film industry ought to be doing and how Catalan professionals should develop their sector.
impact of the postcolonial position in greater detail, firstly by analysing its underlying notion of cultural identity as well as its institutional critique, and, secondly, by tracing how this critique has paved the way for greater recognition of artists from non-Western diasporas in an increasingly globalised art world. One of the aims of this chapter is to work through the binarisms and simplifying categorisations of classic identity politics in the visual arts. This critical revision provides a basis for the attempt to move away from dichotomous ways of thinking
The need for a single public culture – the creation of an authentic identity – is fundamental to our understanding of nationalism and nationhood. How are these manufactured cultural identities expressed? This book considers those questions in relation to the ways in which the aesthetics of national identities promoted the idea of nation that encompassed the doctrine of