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[Commlist] 2nd call-CFP-Sino-Korean Screen Relations
Wed Oct 30 23:23:18 GMT 2019
Second call -Call For Papers – Sino-Korean Screen Relations at UCLan,
UK, 16-17 January 2020
We invite papers on the topic of Sino-Korean Screen Relations for a
symposium on 16-17th January 2020. The Confucius Institute funded
symposium will bring together scholars of Film, TV and Screen Media
Studies to explore historical and contemporary relations between
Sinophone and Korean-language screen media. It will take place at the
University of Central Lancashire, Preston, UK, (close to the Lake
District, Manchester and Liverpool). Accommodation, refreshments and
limited post-grad travel subsidies will be provided to selected
presenters. We particularly welcome papers from scholars from across the
Sinophone and Koran-language cultural centres and diasporas. Selected
papers will be offered publication opportunities in an edited
collection. The language of the symposium will be English.
‘Sino-Korean screen relations’ is a significant and under-studied
research area. It includes relations between the two largest and most
influential contemporary screen media spheres in the East Asian region.
However, the emphasis on relations gestures beyond the concept of
distinct Sinophone and Korean-language spheres of cultural
(re)production, and beyond dominant national ideologies and nation-based
media historiography. Instead, it re-conceptualises Sino-Korean screen
media as intricately interlinked through diverse yet disjunctive webs of
historical and contemporary relationships. These encompass Trans-Asian
human, media, format, finance and technology flows; state, industrial,
and (inter)textual relations of similarity, difference, collaboration
and competition; and relations of connection, appropriation, exclusion
and ‘othering’. Concomitantly, the formulation of ‘Sinophone’ and
‘Korean-language’ encompasses all media in Chinese dialects, as well as
Korean-language media produced by North and South Koreans, Korean
Chinese and other diasporic Korean cultures. This symposium builds on
growing body of literature around Sino-Korean screen relations. Soyoung
Kim’s 2006 article highlights Hong Kong-Korean location shooting
practices. Building on this in his 2016 paper, Chris Berry calls for a
transnational cinema research project that transcends the methodologies
and ideologies of both nationalism and globalisation by tracing the
history of ‘disjunctive and discontinuous’ connections between
Sino-Korean screen media. While contributing to this project, the
symposium also seeks to explore the networks of contemporary Sino-Korea
screen relations. Whilst augmenting existing research trajectories on
reception (e.g. Lu Chen 2019), production and co-production (e.g. Jin
2016; Jin and Su 2019), and regional circulations (e.g. Chua Beng Huat
2012), the symposium particularly welcomes papers that explore the
mutually constitutive effects of Sino-Korean screen relations on
Sinophone/Korean-langue texts. In short, what effect do the two cultural
spheres have on each other? For example, how does production with
Sinophone audiences in mind impact South Korean tv dramas, and how do
PCR TV shows adapt to the popularity of South Korean imports?
In line with its explicit focus on the implications of such
interconnectivities across the history of Sino-Korean screen media, the
symposium invites papers and panels on any relations between Sinophone
and Korean-language media. These could include, but are not limited to,
• The impact of Chinese markets on Korean screen media.
• The impact of Korean screen media on Chinese media production.
• Unequal flows of media, such as TV drams, between Sinophone and
Korean-language spheres. • Constructions of Korean, Chinese and Korean
Chinese people in Korean and Chinese screen media.
• Korean Chinese film and screen media produced in China and Korea. •
Images of Korean Chinese in Chinese and Korean media
• Media by and/or about North Koreans in China
• Unequal global image flows, such as the relatively greater number of
images of Chinese people in South Korean films than of Koreans in
• Trans-border production practices, such as Koreans working in 1960-70s
• Reception issues, such as screenings of South Korean film in 1960s
Taipei, or North Korean films in 1960-70s Beijing.
• Korean-Language and Sinophone live-streaming media. • Queer screen
cultures in the Korean-language and Sinophone spheres.
• North/South Korean and Chinese memories of the Korean War in Film
• The regional circulation of stars and idols from diverse Korean and
Sinophone popular culture industries.
• Sinophone/Korean TV formats.
• Sino-Korean co-productions in any screen media. • Comparisons between
‘New Wave’ cinemas in different Korean/Sinophone cultures. •
Constructions of local landscapes in Korean, Cantonese, Mandarin and
• Manchuria in Chinese and Korean cinema history.
• Representations of Japanese in North/South Korean and Sinophone cinemas.
• Sino-Korean genre relations, especially in martial arts and gangster
• Sinophone and Korean-language documentary practices.
• Anime relations
• Sino-Korean human relations in screen media production. • Imperial-era
Sino-Korean ([Tang, Yuan, Ming, Qin]-[Choseon, Koryo, Shilla]) relations
in Korean and Sinophone film.
Please send abstracts (250 words) and short bio (100 words) to
(Sino-Korean /at/ uclan.ac.uk) (or (mplaice /at/ uclan.ac.uk)) by 7th November 2019.
Selected papers will be informed by 15th November 2019. Full papers (max
6000 words Chicago Reference style) should be sent by 6th January 2019.
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