The Continued Conflicts Between Japan and South Korea: An Analysis of Japan’s Revisionism through the Hashima Island Debates Following its Acceptance in the UNESCO World Heritage Site’s List in 2015
Looking back, Japan’s occupation of Korea from 1910 to 1945 continues to be the cause of tensions between the two nations. As time progresses more issues that occurred during Japan’s occupation are brought to the attention and debates on its history arise. In 2015, a Tokyo-sponsored package called, “Sites of Japan’s Meiji Industrial Revolution” that was being considered for the same years list of United Nations Educational, Scientific, and Cultural Organization (UNESCO) World Heritage Site. A submission to the UNESCO World Heritage Site list essentially protects and labels an area or landmark that has a significant value to the culture, history, or science. Among the list was one of Japan’s islands known as Hashima or Gunkanjima, now a ghost town off Nagasaki, Japan.
There is no denying the massive influence of Hollywood across the world. Hollywood’s establishment and continued success through fame and finance are appealing to other cinemas. The ability of Hollywood films to be invested and watched across the globe gives them the title of being a global cinema. Yet, “Hollywood is not, in fact, the “only global cinema,” as David Bordwell writes. At the same time as Hollywood’s birth, Japanese cinema was also beginning. For Japanese film history, Japan has been attempting to imitate Hollywood in its productions, often with the goal of achieving the same success. Hollywood’s title as a global cinema, means that any product that comes out of their studios will reach global audiences. This fact answers the question of why Hollywood often remakes other cinemas films. Hollywood in a sense, is the end game of cinema. Yet, in contrast to the title of limitation to Hollywood, Japanese cinema, also a global cinema, can adapt films from not only other cinemas but Hollywood themselves. Which argues that like Hollywood, Japanese cinema is a global industry that allows for the remake of Hollywood films, displayed in Lee Sang Il’s 2013 adaption of Clint Eastwood’s Unforgiven (1992), yet differs in its ability to appeal to Asian audiences with changes to a western to reflect the Asian identity through a samurai narrative.
The Korean Western: Hybridity in Korean Cinema to Address Issues of Asian Representation in Hollywood
At the end of the Civil War, cowboys roamed the south of the United States, however the same can’t be said about South Korea. In Korean history, cowboys never existed, meaning that the wild west never happened. Yet, Korean media produces western films. Take Kim Jee Won’s The Good, the Bad, and the Weird (2008), a film publicized as the “oriental western,” with a name and plot almost exactly the same as Sergio Leone’s The Good, the Bad, and the Ugly (1966). The western genre, with its stereotypes, has existed in Hollywood films due to the significance of its place in American history and the morals it promotes. This same significance can be applied to why South Korea uses the western genre in their films narrative construct. Korean cinema uses the Hollywood genre conventions of a western in Kim’s The Good, the Bad, and the Weird to include Korea’s historical and cultural background while addressing issues of Asian representation in Hollywood.
The Subjectivity of Film Archive: An Analysis of Archival Footage Through Student Protest Motivated by the Kent State Shootings
When thinking about the past people remember what they’ve read in books, have been told by others, or seen on film or in photos. When looking at the archives of historical media, one must consider the idea of archival theory. As scholar Richard Goltzer writes, “the nineteenth-century premise of English language archival theory was that material was objectively collected, passively stored, inert, and served as a trustworthy official memory for society and government” (Glotzer 298).