Hybrid Media, Ambivalent Feelings Hyung-Sook Lee, editor, Spectator 27: 2 (Fall 2007) 64-78
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Hye Seung Chung is a Visiting Assistant Professor in the Department of Comparative Literature at Hamilton College. Her writing has appeared in Asian Cinema, Cinema Journal, and other journals, as well as in anthologies such as East Main Street: Asian American Popular Culture (NYU Press, 2005), South
Press, 2005). She is the author of Hollywood Asian: Philip Ahn and the Politics of Cross-Ethnic Performance (Temple University Press, 2006) and is currently writing a book on transnational Korean cinema.
77 HybRiD MeDiA, AMbivAleNT feeliNgS ChuNg Notes
1. For an elaboration of the concept (“New International Division of Cultural Labor”), see Toby Miller, Nitin Govil, John McMurria, and Richard Maxwell, eds., Global Hollywood (London: BFI Publishing, 2001). 2. Although it is arguable whether the Cold War really ended in Asia in light of current North Korean Crisis, in this essay I use the term “post-Cold War” in a conventional sense to refer to the new world order that emerged in the wake of the fall of the Berlin Wall, the collapse of the Soviet-bloc, and the market liberalization of mainland China. 3. James Chapman, License to Thrill: A Cultural History of the James Bond Films (London: I.B. Tauris Publishers, 1999), 30. 4. Michael Atkinson, “Realpolitik for the People: A View to a Kill,” Village Voice (November 20-26, 2002); Manohla Dargis, “Bond’s 40 but refuses to behave,” Los Angeles Times (November 22, 2002); Michael Gove, “We Meet Again, Mr. Bond. Only This Time in Korea,” The London Times (January 12, 2002). 5. Bond 20: The Unofficial Site (http://www.netcomuk.co.uk/ ~bond19); CommanderBond.Net (http://www.commanderbond. net). 6. Bond 20: The Unofficial Site; Ananova (http://www.ananova.com). 7. Editorial in the Chosŏn ilbo [Chosun Daily] (January 23, 2003). 8. Although only 14 out 565 men charged with misconduct faced actual court-martial (ten of them were convicted), many repatriates continued to experience harassment from FBI agents and military interrogators for years after they resumed civilian life. For more information, see Albert D. Biderman, March to Calumny: The Story of American POWs in the Korean War (New York: Macmillan, 1963) and Lewis H. Carlson, Remembered Prisoners of a Forgotten War: an Oral History of Korean War POWs (New York: St. Martin’s Griffin, 2002). 9. According to official records, between 1967 and 1998, 56,904 American soldiers committed 50,082 crimes in South Korea. Based on this statistics, scholars and activists infer that over 100,000 crimes had been committed by U.S. soldiers stationed in South Korea between September 8, 1945 (the inaugural date for the U.S. military occupation) and 1999. See Anti-U.S. Military Crime Movement Headquarters, ed., Kkŭtnaji anjŭn ap’ŭm ŭi yŏksa migun pŏmjoe [A History of Unfinished Pain: U.S. Military Crimes] (Seoul: Kaemasŏwŏn, 1999). 10. The candlelight demonstration reached its peak during the week of December 7 -14, 2002, when nearly 100,000 citizens gathered in the Kwanghwamun Square in downtown Seoul. 11. “North Korea Denounces James Bond Film,” New York Times (December 15, 2002); Mark Magnier, “007 Movie Provides Bond Between the Two Koreas,” Los Angeles Times (January 11, 2003). 12. “North Korea’s Dr. Evil.” Newsweek, Vol. CXLI, No. 2 (January 13, 2003). 13. Message Board, Universal Exports Web site (http://www.universalexports.net). 14. Tony Bennett and Janet Wollacott, Bond and Beyond: The Political Career of a Popular Hero (London: MacMillan Education, 1987), 99. 15. Neil Okrent, “Right Place, Wong Time,” Los Angeles Magazine (May 1990). 16. James S. Moy, Marginal Sights: Staging the Chinese in America (Iowa City: University of Iowa Press, 1993), 91. 17. Personal correspondence. 18. Chŏng Han-sŏk, “007 Another Day,” Cine21, No. 383 (December 24-31, 2002). My translation. 19. Personal correspondence. 20. Chŏng Min-gyu, “Netizen’s Do Not See 007 Movement,” OhMyNews (http://www.ohmynews.com). My translation. 21. For more information on the conflicts and negotiations between the Chinese government, Hollywood studios, and the State Department during the 1930s, see Hye Seung Chung, Hollywood Asian: Philip Ahn and the Politics of Cross-Ethnic Performance (Philadelphia: Temple University Press, 2006), 87-119. 22. Thomas Schatz, “The Return of the Hollywood Studio System” in Erik Barnouw, et al., Conglomerates and the Media (New York:
78 FALL 2007 To ‘ANoTheR DAy’ The New Press, 1997), 84-85. 23. Gill Branston, Cinema and Cultural Modernity (Buckingham, Open University Press, 2000), 53. 24. Toby Miller, et. al., Global Hollywood, 9. 25. The South Korean government reduced the screen quota by half (to 73 days a year) as of July 2006, succumbing to sustained U.S. trade pressure. 26. Market share statistics is based on 2004 data. For statistics of the Korean film industry, see the Korean Film Council website (http://www.kofic.or.kr). 27. Jin Long Pao, “The Pan-Asian Co-production Sphere: Interview with Director Peter Chan,” Harvard Asia Quarterly, Vol. 6, No. 3 (Summer 2002). 28. According to a 2003 survey of 2,000 mainland Chinese, Hong Kong, and Taiwanese tourists conducted by the Korea National Tourism Organization (Han’guk kwangwang kongsa), 44.9% respondents visited South Korea to see film and television location sites, 20.7% to attend pop concerts, and 17.4% to participate in tour packages guided by popular stars. When one of the most popular
crossed the Sea of Japan to see the film upon its release. 27.4% (711,236) out of all Japanese, mainland Chinese, and Taiwanese tourists in 2004 visited South Korea because of hallyu TV dramas, films, or stars. “Chunghwakwŭn sŏnho yŏnaein ŭn An Chae-uk
November 24, 2003; Yi Yŏng-jin, “Pae Yong-jun Sŭkaendŭl pogi wihae Han’guk haneg? [Going to Korea to See Pae Yong-jun’s Untold Scandal]?,” Cine 21, October 20, 2003; “Chaknyŏn il.chung.taeman panghan kwankwanggaek 27.4% ‘hallyu kwankwang’ [Last Year 27.4% of Japanese, Chinese, Taiwanese Tourists Were Hallyu-related],” Tong-a ilbo [Dong-a Daily], January 13, 2005. 29. The first Hollywood remake of a South Korean film—the time-travel romance The Lake House, adapted from Il Mare (Siwŏlae; 2000)—hit American theaters in 2006. Other Korean titles whose remake rights were sold to Hollywood include Phone (P’on, 2002), Jail Breakers (Kwangbokjŏl t’ŭksa, 2002), My Teacher, Mr. Kim (Sŏnsaeng Kim Pong-du, 2003), Into the Mirror (Kŏul sokŭro, 2003), and The Doll Master (Inhyŏngsa, 2004) filmography
[Park Chan-wook], South Korea, 2000) Il Mare (Siwŏlae; Yi Hyŏn-sŭng, 2000) My Sassy Girl (Yŏpgijŏkin kŭnyŏ; dir. Kwak Chae-yong, South Korea, 2001) Friend (Ch’ingu; dir. Kwak Kyŏng-t’aek, South Korea, 2001) My Wife Is a Gangster (Chop’ok manura; dir. Cho Chin-gyu, South Korea, 2001) Hi, Dharma (Talmaya nolja; dir. Pak Chŏl-gwan, 2001) Marrying the Mafia (Kamun ŭi yŏngkwang, dir. Chŏng Hŭng-sun, 2002), Die Another Day (dir. Lee Tamahori, UK/USA, 2002) Harry Potter and the Chamber of Secrets (dir. Chris Columbus, UK/USA 2002) Iron Palm (Iŭn p’am; dir. Yuk Sang-hyo, South Korea, 2002) Phone (P’on; dir. An Pyŏng-gi, 2002) Jail Breakers (Kwangbokjŏl t’ŭksa; dir. Kim Sang-jin, 2002) My Teacher, Mr. Kim (Sŏnsaeng Kim Pong-du; dir. Chang Kyu- sŏng, 2003) Into the Mirror (Kŏul sokŭro; dir. Kim Sŏng-ho, 2003) A Tale of Two Sisters (Changhwa, Hongryŏn; dir. Kim Chin-un, South Korea, 2003) Oldboy (Oldŭ poi; dir. Pak Ch’an-uk, South Korea, 2003) Untold Scandal (Sŭk’aendŭl; dir. Yi Chae-yong [E. J-Yong], South Korea, 2003) Tae Guk Gi: Brotherhood of War (T’aegŭkki hwinallimyŏ; dir. Kang Che-gyu, South Korea, 2004) Silmido (dir. Kang U-sŏk, South Korea, 2004) The Doll Master (Inhyŏngsa; dir. Chŏng Yong-gi, 2004) The Host (Kŏimul; dir. Pong Chun-ho, South Korea, 2006) The Lake House (dir. Alejandro Agresti, USA, 2006) Download 221.54 Kb. Do'stlaringiz bilan baham: 
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