[Commlist] 2nd call-CFP-Sino-Korean Screen Relations

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 following:
•	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 
Chinese films.
•	Trans-border production practices, such as Koreans working in 1960-70s 
Hong Kong
•	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 
Hokkien/Fujian films.
•	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 
films.
•	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. 
For more information, please visit: 
https://www.uclan.ac.uk/confucius/news.php

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