East Winds 2011: Asia Exposure – East Asian Cinema in a Global Context Symposium Programme

Panel  a) Japan 1: Explorations of Modernity

Chair: John Berra

Woojeong Joo (University of Warwick), ‘When Modern Girl Sheds Tears: Shinpa Melodrama and the Everyday in Ozu Yasujiro’s Pre-War Woman’s Films’.

Julian Ross (Leeds University), ‘The Forgotten Shinjuku Thieves: Diaries of Intermedial Dialogue in the Japanese 1960s Avant-garde Arts’.

Michael Smith (Leeds University), ‘Tanaka Kinuyo – Women’s Filmmaker or Woman Making Films?’

Panel  b) China 1: The Production and Reception of New Chinese Cinema

Chair: Spencer Murphy

Carol Barker (Bradford University), ‘We’ve still got the twin towers: Landscapes of power in Jia Zhangke’s Shijie (The World, 2005)’.

Matthew Barrington (Kingston University): ‘Can the reception of the cinema of Jia Zhangke comment on the validity of contemporary Film Canon’s?’

Huifen Joann Hu (Jacobs University), ‘Transnational Chinese Cinema and its Chinese Audienceship: A Qualitative Exploration of the Chinese Audience Reception of Ang Lee’s Cinema’.

Panel c) Korea 1: The Culture of Consumption, Korean-Style

Chair:  Colette Balmain

Callum Jackson (Independent Scholar): ‘Censorship in South Korean Cinema.’

Paul Quinn (Hangul celluloid), ‘‘Love, Loss and Laughter in Korean Cinema.’

Panel a) Hong Kong and Beyond: Auteurs, Audiences & Genre

Chair: Michael Smith

Gary Bettinson (Lancaster University), ‘The aesthetics of disturbance in recent Wong Kar-wai.’

Steven L. Riep (Brigham Young University), ‘Rethinking Genre Filmmaking: Visual Disabilities as Vehicle for Social Critique in Zhang Yimou’s Happy Times and House of Flying Daggers and the Pang Brothers’ The Eye.’

David West, ‘Wong Fei-Hung and the Shifting Identity of Hong Kong Audiences.’

Panel  b) Korea 2: Sex and Silence in Korean Cinema

Chair: Iain Robert Smith

Angela Kim and Min Kyung Joo (Sungkyunkwan University), ‘Like a Virgin: Looking for the new sexual identity through throwing father.’

Geunhye Kim and Lucy Jue (Sungkyunkwan University), “I wouldn’t have sex with you, if I were not a vampire”: The Manifestation of the Korean Vampirism in Thirst.’

Matthew Melia (Kingston University), ‘Silence in Korean Cinema’.

Panel  a) China 2: Chinese Youth in Revolt

Chair: Steven L. Riep

Mariagrazia Costantino (University of Rome), ‘Against Any Rhetoric: Teenage Riot and the Diegetic Use of Music in Contemporary Chinese Film.’

Dr. Yang Liu (Nanjing University), ‘A Carnival of Senseless Humour and Vulgar Parody: The Relationship between Low-Budget Comedy Films and Youth Sub-Culture in China.’

Hing Tsang (University of Surrey), ‘Transcendence and Transgression in Li Shao Hong’s Stolen Life.’

Panel  b) Japan 2: Trauma and Social Identity on Screen

Chair: John Berra

Marco Bohr (University of Westminster), ‘The Unrepresentability of Trauma in Kore-eda Hirokazu’s Nobody Knows.’

Christopher Howard (SOAS), ‘Zeronendai no Sōzōryoku – Towards a Survive-style Cinema.’

Artur Szarecki (University of Warsaw), ‘Deconstructing Japan: Space and Identity in Kamikaze Girls.’

Panel  c) Korea 3: The Transnational Nature of K-Horror

Chair: Matthew Barrington

Dave McCaig and Dean Lockwood (Lincoln School of Media), ‘Contemporary K-Horror as Critique of Ecstatic Consumption: The Housemaid (2010) and Other ‘Wired’ Narratives.’

Leung Wing-Fai (British Film Institute), ‘The Story of Two Texts: A Tale of Two Sisters and The Uninvited.’

Iain Robert Smith (Roehampton University), ‘Oldboy goes to Bollywood: Zinda (2006) and the Transnational Appropriation of South Korean Horror.’