Una vez más, exploramos las publicaciones académicas más recientes en los estudios coreanos, abarcando diversas áreas del conocimiento. Desde las ciencias sociales, donde se abordan temas como la política, la migración y las prácticas educativas, hasta las humanidades, que nos ofrecen nuevas perspectivas sobre la cultura popular, la filosofía y las artes contemporáneas de Corea. Estas investigaciones revelan cómo las tradiciones, las transformaciones sociales y las influencias globales configuran la Corea del presente.
Mostrando entradas con la etiqueta cine. Mostrar todas las entradas
Mostrando entradas con la etiqueta cine. Mostrar todas las entradas
CFP: POPULAR CULTURE REVIEW "ASIAN AND AMERICAN POPULAR CULTURE"
“Asian and Asian American Popular Culture”
Popular Culture Review seeks to publish compelling, well-argued, and well-researched articles on a variety of topics related to popular culture, both contemporary and from earlier eras. While film, television, literature, and video games are common popular culture subjects, we wish to broaden the journal's exploration of popular culture as well. Examples might include regional popular cultures, popular culture and food, popular culture in previous decades or eras, popular culture and social media, popular culture and music, and the like.
Popular Culture Review comes out twice a year – in the summer and late winter. Our winter issue is a general issue open to all topics related to popular culture and the summer issue is a special issue focused on a particular topic.
Submissions for general issues are due by January 15th for consideration in that year's general issue and by June 10th for that year's special issue. Submissions undergo a rigorous peer review process.
2023 Special Issue in Progress: Black Popular Culture in America - submission deadline has passed
2024 Special Issue: Asian and Asian American Popular Culture - Submissions open and due by June 15, 2024. For this special issue, Popular Culture Review is interested in articles related to all aspects of Asian and Asian American popular culture. This includes, but is certainly not limited to, topics including:
- art
- literature
- music
- graphic novels
- animation and anime
- video games
- food culture
- fashion
- social media culture
- television and film
We are interested in articles that consider contemporary popular culture and/or earlier popular culture.
Submission of Manuscripts
- Submission of an article requires that it presents original, unpublished work not under consideration for publication elsewhere.
- Submissions should be in English, using American spelling and punctuation, and be double-spaced.
- We accept articles between about 25-30 pages (including notes and citations). We may consider longer pieces if the subject matter and quality of the article warrant a longer length.
- All figures require a caption and should be referenced in the text. If manuscript is accepted, high-quality files of all photographs, drawings, maps, and other artwork must be submitted as separate attachments.
- Please submit articles for consideration as a Word attachment, with no identifying information on the attached document, to the Editor at popularculturerevieweditor@gmail.com.
- In a separate attachment, please include your name, your email address, the article title, a 75-word abstract, a 50-word bio, and a short list of keywords. Please also indicate if the submission is for a general issue or a special issue.
- All submissions will receive acknowledgment of receipt, and peer reviews with notice of acceptance or rejection.
- Upon an article being accepted for submission, the author will need to submit a final copy, with any revisions as needed, conforming to the Manuscript Guidelines as indicated in the "Formatting and Style" guidelines in the next section.
Formatting and Style
- Please utilize MLA (8th edition) format. Quotes and paraphrased passages must be followed by their citations within the text. The Works Cited should be on a new page, after the last page of End Notes.
- Please utilize End Notes instead of Footnotes.
- Please refrain from the use of we, you, or us.
- Please refrain from the use of the first person in the body of your article. Personal anecdotes or experiences relevant to the article can be included in the End Notes.
- Please do not announce the paper's main argument with phrasing like "This paper will..." Instead, utilize a compelling and arguable claims or set of claims, as these will draw in readers' interest.
- The author is responsible for obtaining permissions for illustrations, song lyrics, advertisements, etc., which are to be published with the article.
- Quoted material should stay within copyright Fair Use guidelines (generally not exceeding one-hundred (100) words in length per quote/extract). See 17 U.S. Code § 107 for guidelines on what qualifies as Fair Use.
Popular Culture Review gratefully acknowledges the contributions made to this journal by the UNLV College of Liberal Arts, the UNLV Department of English, the Popular Culture and American Culture Associations, and Westphalia Press (an imprint of Policy Studies Organizations).
II CURSO "REFLEXIONES SOBRE LA CULTURA ASIÁTICA" UNIVERSIDAD CARLOS III DE MADRID
II Curso “Reflexiones sobre la cultura asiática”,
La cultura audiovisual en Asia, Cine, Anime, Videojuegos. Universidad Carlos III de Madrid
El Instituto Universitario del Cine Español (UC3M) con la ayuda financiera de la Fundación Eurasia celebra un curso cuyo objetivo principal es ofrecer a los estudiantes una amplia gama de conferencias sobre la cultura audiovisual asiática y sus diferentes contextos históricos, políticos, económicos y sociales.
El curso es una oportunidad única para proporcionar al alumnado un contacto de primera mano a la cultura audiovisual en Asia, impartida por parte de profesores expertos de un amplio reconocimiento internacional. Serán temas de principal interés el cine, anime, videojuegos, además de aproximaciones a las raíces culturales y al tejido industrial asiático.
Información:
- Consejo de Dirección: Manuel Palacio, Farshad Zahedi y Sonia Dueñas
- Idioma: Bilingüe. Necesario nivel de inglés (B2)
- Modalidad: Presencial.
- Precio: Gratuito
- Duración: 34 horas
- Fechas de impartición: Del 15 de septiembre al 15 de diciembre de 2023
- Horario: Ocho sesiones: viernes de 16:00 a 18:00 horas. Cuatro sesiones: viernes de 16:00 a 20:00 horas.
- Plazas: 40
- Plazo de Admisión: Abierto hasta el 30 de septiembre de 2023
- Rellena el formulario de admisión aquí.
- Departamento: Instituto Universitario del Cine Español
Programa:
Modulo1: Culturas asiáticas
- La comunidad asiática (inglés)
- La memoria cultural (español)
- El futuro de la región asiática (inglés)
Modulo 2: Japón
- Historia del cine en Japón (español)
- La industria de la animación en Japón (español e inglés)
- La industria del videojuego en Japón (español)
Modulo 3: Corea del Sur
- La industria cinematográfica de Corea del Sur (español)
- Las series de televisión y el fandom surcoreano (inglés)
- Las industrias culturales en Corea del Sur (inglés)
Modulo 4: Cine en la región asiática
- El cine chino y hongkonés (inglés)
- La industria cinematográfica de Filipinas (inglés)
- El arte visual y la representación de género en el cine iraní (español e inglés)
- La historia del cine en Bombay (India) (inglés)

CFP: "SUSTAINABILY AND RESILIENCE IN EAST ASIA" SYMPOSIUM, UNIVERSITY OF ARIZONA
“Sustainability and Resilience in East Asia” symposium,
University of Arizona
The Center for East Asian Studies (CEAS) at the University of Arizona is pleased to announce that the symposium “Sustainability and Resilience in East Asia” will be held in October 2023.
This biannual one-day hybrid symposium is open to both the local public and to virtual audiences online. We invite scholars and graduate students from any field to discuss the past and future of environmental awareness and challenges with East Asia as the context. In addition to what is conventionally considered East Asia, we will also consider proposals that focus on Vietnam and the Himalayan region.
The following topics are some examples, but we welcome presentations that examine all issues related to the scientific, social, and cultural dimensions of the environment and sustainability in East Asia.
- Changes in East Asia’s environments from multiple perspectives (geosciences, culture, history, religion, etc.)
- East Asia's climate challenges and solutions in the past, present, and future (arid regions, water and natural disasters and their management, pollution, and green initiatives, etc.)
- Cultural construction, negotiation, and representations of environmental sustainability and resilience in East Asia (e.g., literature, TV and films, music, anime/gaming culture, theater and performance, digital media, etc.)
- New and interdisciplinary approaches to the study and understanding of environments in the East Asian context (new meanings of environmental studies, transnationality, ecocriticism, shifting boundaries of the field, posthumanism, etc.)
Dates: October 2023, date TBD
Location: Biosphere 2, Tucson, Arizona
Organizer: Center for East Asian Studies (CEAS), the University of Arizona.
For more information about the symposium and CEAS, please visit the conference website.
Please submit an abstract (up to 250 words) and a brief bio (up to 100 words) to EAS-Center@arizona.edu by August 15, 2023.
CFP: EAST ASIAN ECOCINEMA CONFERENCE, UNIVERSITY OF IDAHO
East Asian Ecocinema Conference,
University of Idaho, February 22-23, 2024
Description:
Ecocinema has recently drawn scholarly attention in East Asian cinema studies, though usually within nation-state frameworks. This conference will contribute to exploration of ecological thinking with regards to media by encouraging inter-Asian conversations about ecocinema. Given the global issue of climate change, it is urgent to develop ecocritical perspectives beyond national cinema frameworks. For example, what can we learn about the relationship between cinema and natural disasters by comparing documentaries from Japan and China? How did filmmakers capture the changing cityscape and landscape during industrialization in different regions in East Asia? Challenging the Euro-America-centric discourse of Theory, what kind of ecocritical approaches and concepts are formed in media theories and criticisms in Asia? Can the increasing popularity of anime, which often reflects on natural disasters such as 3/11, inspire ecocritical thinking in the global audience? By providing scholars in East Asian cinema with a space for dialogue, this conference aims at mapping out alternative perspectives toward ecocinema beyond national borders.
This conference invites paper proposals from all areas in East Asian film studies. Interdisciplinary submissions from across the humanities are welcomed. Possible topics include but are not limited to the following:
- Catastrophe in anime
- Eco-activism by celebrities
- Ecocinema as a genre
- Ecocriticism and media theory in Asia
- Ecological documentary
- Environmentalist film
- New media and environment
- Non-anthropocentric worldview
- Sustainability and the film industry
Keynote speakers:
- Kiu-wai Chu, Assistant Professor of Environmental Humanities, Nanyang Technological University
- Rachel DiNitto, Professor of Japanese Literature, University of Oregon
Submission process:
We invite scholars at all stages of their careers, across multiple disciplines as well as employing diverse methods and theories to submit proposals to this in-person conference. We will consider publishing selected contributions in an edited volume. The conference sponsor (the Idaho Asia Institute) will provide presenters with three nights lodging at a hotel in Moscow, Idaho (room shared with one other participant) and some meals. Participants will be expected to fund their own travel to and from Moscow, Idaho and other expenses.
Please submit the paper title, a 300-word abstract, and a short CV to Yuta Kaminishi (yutak@uidaho.edu) by July 30, 2023. Acceptance of proposals will be communicated by August 14, 2023.
Conference Organizers:
- Yuta Kaminishi, Postdoctoral Fellow in Asian Cinema, University of Idaho
- Jeff Kyong-McClain, Associate Professor of Chinese History, University of Idaho
II CURSO "REFLEXIONES SOBRE LA CULTURA ASIÁTICA" UNIVERSIDAD CARLOS III DE MADRID
II Curso “Reflexiones sobre la cultura asiática”,
La cultura audiovisual en Asia, Cine, Anime, Videojuegos. Universidad Carlos III de Madrid
Consejo de Dirección: Manuel Palacio, Farshad Zahedi y Sonia Dueñas
Idioma: Bilingüe. Necesario nivel de inglés (B2)
Modalidad: Presencial.
Precio: Gratuito
Duración: 34 horas
Plazas: 40
Plazo de Admisión: Abierto hasta el 20 de julio de 2023
Departamento: Instituto Universitario del Cine Español
El Instituto Universitario del Cine Español (UC3M) con la ayuda financiera de la Fundación Eurasia celebra un curso cuyo objetivo principal es ofrecer a los estudiantes una amplia gama de conferencias sobre la cultura audiovisual asiática y sus diferentes contextos históricos, políticos, económicos y sociales.
El curso es una oportunidad única para proporcionar al alumnado un contacto de primera mano a la cultura audiovisual en Asia, impartida por parte de profesores expertos de un amplio reconocimiento internacional. Serán temas de principal interés el cine, anime, videojuegos, además de aproximaciones a las raíces culturales y al tejido industrial asiático.

CFP: "URBAN FUTURES - CULTURAL PASTS", AMPS INTERNATIONAL CONFERENCE, UNIVERSITAT POLITECNICA DE CATALUNYA
“Urban Futures - Cultural Pasts”, AMPS International Conference,
Every region of the world has its particular cultural, social and artistic heritage. In urban centres this is at its most pronounced. The city, as we see it today, results from a history of planning initiatives, artistic visions, social forces and engineering projects. In thinking about its future, we are obliged to build on its past and its present: its varied buildings and urban plans; its artistic heritage and craft traditions; its design vernaculars and regional practices; its neighborhood bonds and community ties; its economic conditions and social norms, and more. The city then, is a living question: past, present and future.
When thinking about the future of specific cities we are also obliged to think more broadly – to understand the local and the global context in we live: the transnational forces of globalization, the universal concern for sustainability; and the worldwide trends of consumerist cultures etc. In this regard too, the city is a complex issues: a question of specific responses to global issues. The host city of this event, Barcelona, and by extension the whole region of Catalonia, is a perfect example of this and offers examples of the themes this conference will examine.
In addressing the questions and issues raised by the region, this conference opens debates relevant to cities the world over. Across the Mediterranean issues of sustainable futures are paramount. In Europe more widely, the gentrification of traditional neighborhoods is endemic. In North America and Australasia the respect for Indigenous cultures and crafts is urgently needed. In Africa and Asia, how to sustainably design for growth in existing contexts is a pressing problem. In Latin America and the Middle-East, development that avoids the homogenizing forces of globalization is vital. In these contexts this conference argues that these interchangeable global issues are key to our pasts, but also to our sustainable futures.
In response to this call, we welcome perspectives on these themes from various discipline areas. We seek a wide range of knowledge and insights, whether developed in isolation, or in cross disciplinary collaboration.
Examples of particular research areas of interest to the Universitat Politècnica de Catalunya include:
- Community Design & User Autonomy – Challenges & Paradoxes
- Material Circularity – Climate Change, & Reuse
- Governing the Ecosystem Commons – Governance & Spatial Planning
Other questions of interest to the overall conference include:
- Urban Futures & Community Pasts – Politics, People & Place
- Cultural Pasts & Urban Histories – Gentrification, Heritage & Cities
Event Date: 2024-07-15 to 2024-07-17
Abstract Due: 2023-07-15
mgt@amps-research.com
Lorraine Gess
SEMANA CULTURAL COREANA: CHARLAS SOBRE COREA
Semana Cultural Coreana:
Charlas sobre Corea
Exposición de trajes HANBOK para niños
Indumentaria tradicional infantil de Corea
Fechas: 23 – 27 del mayo, martes - sábado, 10:00 – 15:00 h
Lugar: Real Academia de Bellas Artes San Fernando
Asistencia: Entrada libre y gratuita
Semana del Cine Coreano
Lugar: Cines Verdi Madrid (C. de Bravo Murillo, 28)
Programa:
- La novelista y su película (Hong Sang-soo, 2022): 24 de mayo, miércoles, 20:15 h
- Minari. Historia de mi familia (Lee Isaac Chung, 2020): 25 de mayo, jueves, 20:15 h
- Broker (Hirokazu Koreeda, 2022): 26 de mayo, viernes, 11:30
- Hunt. Caza al espía (Lee Jung-jae, 2022): 27 de mayo, sábado, 11:30 h
Charlas sobre Corea
Ponencias para conocer más sobre Corea con expertos
- Primera Jornada: 23 de mayo, martes, 12:00 h
- Tema y ponentes:
- “Corea, evolución económica y social”, Josep Manel Brañas, Profesor emérito de la Universidad Autónoma de Barcelona
- “El Soft Power coreano y el fenómeno de los K-dramas”, Gloria Fernández, Socia fundadora de CineAsia
- Segunda Jornada: 25 de mayo, jueves, 12:00 h
- Lugar: Centro Cultural Coreano (Pº de Castellana, 15)
- Tema y ponentes:
- “La península coreana: historia de dos realidades tan lejanas como cercanas”, Rafael Bueno, Director de Casa Asia
- “Hallyu, la Ola coreana”, Uhjeen Lee, Doctora en Sociedad y Cultura, Universidad de Barcelona
La Voz de Corea
Recital de solista coreano Il Hong con repertorio de música clásica coreana y óperas famosas
- Primer concierto: 25 de mayo, jueves, 12:00 h
- Lugar: Centro Cultural Coreano (P. de Castellana, 15)
- Programa:
- “Madamina, il catalogo è questo”, <Don Giovanni>, Wolfgang Amadeus Mozart
- “Votre toast, je peux vous le rendre", <Carmen>, Georges Bizet
- Segundo concierto: 26 de mayo, viernes, 12:00 h
- Programa:
- “Nadie podría saber”, Wonsik Lim
- “Añorando el pasado", Jin Choi
- “Come dal ciel precipita", <Macbeth>, Giuseppe Verdi
- “Despierta negro, que viene el blanco", <La tabernera del puerto>, Pablo Sorozábal
- “Madamina, il catalogo è questo”, <Don Giovanni>, Wolfgang Amadeus Mozart
- “La montaña", Shin Dongsu
- “Balada sobre la montaña Shingo”
- “Miei rampolli femminini”, <La Cenerentola>, Gioachino Rossini
- “Udite, udite o rustici", <L’elisir d’amore>, Gaetano Donizetti
Asistencia: Entrada libre y gratuita hasta completar aforo
Concierto y K-Fashion
Desfile de moda HANBOK con modelos españoles y Concierto de Grupo Vocal MILLENNIUM con vocalistas españoles cantando en coreano.
Fecha: 27 de mayo, sábado, 19:30 h
Lugar: Teatro Monumental
Asistencia: Reserva previa de entradas gratuitas. S.R.C antes del 17 de mayo.
Concierto y K-Fashion
Desfile de moda HANBOK con modelos españoles y Concierto de Grupo Vocal MILLENNIUM con vocalistas españoles cantando en coreano.
Fecha: 27 de mayo, sábado, 19:30 h
Lugar: Teatro Monumental
Asistencia: Reserva previa de entradas gratuitas. S.R.C antes del 17 de mayo.
CFP: ÁMBITOS FEMINISTAS JOURNAL SPRING 2024 ISSUE 12
Spring 2024 Issue 12
The editors of Ámbitos Feministas invite original and unpublished contributions in English, Portuguese, and Spanish, including essays, translations, creative writing (such as poetry and short stories), book reviews, miscellanea, and artistic creations in the fields of Gender, Queer and Sexualities Studies, Cultural and Film Studies with Gender Gaze, Pedagogy DEIB, Feminist, and Women Studies. Ámbitos Feministas welcomes proposals for special issues. Submissions are encouraged from diverse perspectives and disciplines, with a particular emphasis on the transatlantic perspective of Latin American, Caribbean, Iberian Peninsula, African, Asian, United States, Philippines, and Indigenous studies. Ámbitos Feministas accepts essays at any time, but to be considered for the next spring issue, submissions must be received by September 30.
EDITORIAL GUIDELINES FOR SUBMISSIONS
To ensure that your work aligns with the journal’s scope and mission, Ámbitos Feministas recommend reviewing the “Editorial Guidelines (English-Spanish)” carefully, and your submission meet the following general requirements:
a. All authors in all sections must have a current membership to the coalition Feministas Unidas Inc. This can be obtained through Feministas Unidas (http://feministas-unidas.org/) and must be maintained throughout the submission and publishing process.
b. By submitting your work, you confirm that it is original and complies with our “Editorial Guidelines (English-Spanish).” You declare that the work has not been previously published and is not currently under consideration for publication or any other award. Ámbitos Feministas does not consider multiple, concurrent submissions by the same author.
c. To submit your work (special issues are different), please use the corresponding link and follow the instructions to upload the following documents: 1.-A PDF-format CV of no more than three pages; 2.-A PDF-format page containing your personal information, including your name, email, affiliation, position, and the title of your work; and 3.- The anonymous work to be evaluated, which must meet the requirements set out in our “Editorial Guidelines”
LINKS FOR SUBMISSIONS
a. For essays
Please ensure that you are using the correct link for your submission to avoid delays or potential errors in processing. If you experience any issues with the submission process, please contact our editorial team at (aisimon@adelphi.edu) for assistance.
aisimon@adelphi.edu
2023 LTI KOREA TRANSLATION AWARD FOR ASPIRING TRANSLATORS
2023 LTI Korea Translation Award
for Aspiring Translators
2023 LTI Korea Translation Award for Aspiring Translators seeks to discover a new talent in Korean literary/cultural contents translation who will serve as a bridge between Korean and global literatures.
Target languages
- Literature
- English, French, German, Spanish, Russian, Chinese (Both Simplified and Traditional languages are available), Japanese, Vietnamese and Arabic
- Webtoon
- English, French, Spanish, Japanese and Vietnamese
- Film
- French, Spanish, Chinese(Only Simplified language), Japanese and Vietnamese
Eligibility
- Literature
- Applications are welcome from translators of all nationalities who have not yet received an official translation grant or published a translated work of Korean literature in their target language. (Applicants whose previous translations only appeared in LTI Korea Translation Academy and/or Translation Atelier collections are eligible for a literary translation category.)
- Webtoon
- Applications are welcome from translators of all nationalities who have not had more than one webtoon/webcomic translation published in either print or an online platform.
- Film
- Applications are welcome from translators of all nationalities who have not had more than one subtitle translation of a media content (films, TV dramas) released in theatres, film festivals, or through OTT services such as Netflix, Watcha, YouTube Originals, etc.
- To be considered:
- Co-translations are not accepted
- Multiple applications are not allowed, and will be disqualified immediately. You can only apply for one language in one of the genres.
- It is impossible for a previous winner to re-win the same genre.
- Co-translation is not possible in all categories, and if plagiarism is confirmed, the award can be cancelled.
Settexts
1) Literature
2) Web-toon
3) Film
Prize:
- One winner will be selected in each language category.
- Each winner will be awarded 5,000,000 KRW and a plaque.
※ The prize for overseas residents includes a trip to Seoul (round-trip airfare and accommodation) to attend the award ceremony.
Requirements:
- Application (Please download the application form from the website.)
- Translation manuscript
- Literature: PDF format
- Webtoon and Film: Please download the form from the website.
※ Translate the entire text including the title.
※Personal information (your name, school, address, etc.) must not appear anywhere on thesubmitted manuscript.
※ Sign the application form and the consent form for personal information collection.
Applications and further inquiries are only accepted via email.
- Literature: newtranslators@klti.or.kr
- Webtoon and Film: mediatranslation@klti.or.kr
- Application Period: June 1 ~ July 31(24:00 KST), 2023
- Announcement of Results: The results will be announced in November, 2023 (All applicants will be notified individually.)
CURSO ONLINE CINEASIA: EL FENÓMENO DE LAS SERIES COREANAS
Curso online CineAsia
El fenómeno de las series coreanas
Sí, ya está aquí, el curso que todas/todos nos habíais pedido tiene estructura y fecha de inicio. El estreno está previsto para el 17 de abril de 2023. El nuevo curso online de CineAsia que lleva por título ‘El fenómeno de las series coreanas’ analiza los k-dramas y el porqué del impacto mediático de las mismas a nivel internacional. Un recorrido histórico, que analizará desde las series de mayor éxito, los géneros, las agencias de talentos, la metodología de trabajo, la importancia de las guionistas…
De Winter Sonata a Itaewon Class, embárcate en el nuevo viaje que te propone CineAsia con el curso online ‘El fenómeno de las series coreanas’ un viaje de 20 horas (diez sesiones) por el mundo de la televisión y las series en Corea del Sur.

Ficha técnica:
- Duración: del lunes 17 de abril al lunes 26 de junio
- Horas: 20 horas (repartidas en diez sesiones)
- Sesiones: (1 sesión a la semana) 2 horas de duración los lunes de las 19h a las 21h
- Modalidad: online (a través de la plataforma Zoom)
- Precio: 120 € / Alumnos que ya han realizado la preinscripción: 100 €
- Descuento con carnet de estudiante: Todos los estudiantes tendrán un descuento de 20€ en la inscripción al curso.
- Certificado del curso: Todos los alumnos que superen el 60% de las clases y que lo soliciten recibirán un certificado final del curso expedido por CineAsia.


Sesiones:
- CLASE 1 – 17 DE ABRIL
“Presentación del curso y su metodología. ¿Por qué un curso sobre las series coreanas?”
Presentaremos el curso, su funcionamiento y también una introducción al “fenómeno de los K-dramas”: ¿por qué un curso sobre series de Corea del Sur? Hablaremos de su impacto mediático y cultural a nivel internacional.
- CLASE 2 – 24 DE ABRIL
“El soft power coreano: la ola HALLYU”
Analizaremos qué es el llamado ‘poder blando’; la evolución de la ola hallyu coreana (cuándo y cómo empezó todo, su transversalidad, la evolución de las audiencias…). Trataremos también de reconocer los rasgos tanto positivos como negativos de la ola coreana.
- CLASE 3 – 8 MAYO
“La industria de la TV coreana y sus políticas”
Un poco de historia sobre las cadenas de TV en Corea del Sur: canales públicos y privados, plataformas… También sus políticas publicitarias y de censura, así como cuándo y dónde se emiten los K-dramas y qué tipo de ellos se programan en cada cadena.
- CLASE 4 – 15 MAYO
“La producción de las series coreanas”
¿Cómo se hace/se produce una serie en Corea? Metodología de trabajo, interacción con el fandom y la realidad del país; evolución de los géneros; cómo trabajan los directores, guionistas, actores… Un paseo por la “industria” de los K-dramas.
- CLASE 5 – 22 DE MAYO
“Guionistas y directores más reconocidos de la industria de los K-dramas”
Es curioso cómo en la industria de los K-dramas, las figuras más reconocidas son los guionistas y, sobre todo, guionistas mujeres. Esto está cambiando en los últimos años y analizaremos por qué. Hablaremos las/los guionistas y directores más famosos, y de sus más famosas.
- CLASE 6 – 29 DE MAYO
“Breve historia y evolución de los k-dramas en la TV coreana”
¿Cuándo empiezan a hacerse series en la TV de Corea? ¿Cómo empezó todo? Haremos un poco de historia sobre las más reconocidas series desde los años ’60-‘70s hasta llegar al “boom” que se produjo al principio del Nuevo Milenio y las series que lo iniciaron todo (Winter Sonata, Escalera hacia el cielo, Boys Over Flower, La joya de palacio, etc).
- CLASE 7- 5 JUNIO
“Los ‘saeguk” y la historia de Corea”
Al hablar de la famosa serie “La joya de palacio”, nos da pie a realizar un recorrido por la historia pre-siglo XX de Corea: sus reinos, reinados, reyes a través de las series coreanas… Los llamados “saeguk”.
- CLASE 8 – 12 JUNIO
“La historia de Corea: el Siglo XX en K-dramas”
Seguiremos hablando de la evolución de los K-dramas y de cómo estos han reflejado muchas veces la historia del país (colonialismo japonés, Guerra de Corea, dictadura, consecución de la democracia, crack económico 1997, hechos concretos sociales, etc).
- CLASE 9 – 19 JUNIO
“K-dramas en clave de género”
Hablaremos de cómo los K-dramas reflejan a la mujer y al hombre: estándares de belleza femenina desde el Confucionisto a las “Gangnam Beauty”, las nuevas “masculinidades”, etc. Veremos cómo ha evolucionado en los K-dramas el tratamiento de las temáticas de género.
- CLASE 10 – 26 JUNIO
“La globalización de los K-dramas”
Veremos cómo las plataformas (Netflix, Disney, etc.) han cambiado el panorama audiovisual y cómo se han beneficiado de ellas la industria de las series coreanas ampliando audiencias, globalizándose y cambiando también “su estilo y sus temáticas”. Para finalizar intentaremos sacar algunas conclusiones (tanto positivas como negativas) del fenómeno.
CFP: EDITED VOLUME "FAIRYTALE IN EAST ASIAN FASHION"
Fairytale in East Asian Fashion (edited collection)
We are soliciting chapter proposals for an edited collection on Fairytale in East Asian Fashion. Stories of yokai (Japan), yogoe (Korea), or yaoguai (China), such as “The Crane Wife” and “The Robe of Feathers,” manifest themselves everywhere in East Asian popular culture these days—from manga, anime / donghua / webtoons, and Pokémon, to fashion. One sees this phenomenon through brands such as Maison Kitsune, yokai-themed collections, street style, cosplay, and of course, traditional ethnic dress. Chapters may cover any fairytale or any fantastical creature that features strongly in Asian fairytale—baku, dokkaebi, kappa, kitsune / huli jing / gumiho, qilin, yuki onna, etc etc. Essays on Chinese and Japanese fashion are particularly needed, but essays on Southeast Asia are also quite welcome. (The editor is writing on yogoe fashion through K-Pop and K-Drama.)
Please send a brief c.v. and 150-200 word abstracts for 6,500 word chapters by June 30, 2023 to Amanda Sikarskie, Ph.D., asikarsk@umich.edu. Dr. Sikarskie is working with Frances Arnold, Acquisitions Editor at Bloomsbury. If selected, finished chapters will be due in early 2024.
CURSO CASA ASIA: «RELATOS FOLCLÓRICOS COREANOS Y SU ADAPTACIÓN EN LAS SERIES COREANAS»
«Relatos folclóricos coreanos y su adaptación en las series coreanas»
Si te gustan las series coreanas y quieres saber de dónde vienen esas historias, este curso será para ti. El relato folclórico es un género literario de Asia Oriental que significa historia hablada antes de ser escrita y se compone de mitos, leyendas y cuentos populares. En la era digital, varios relatos folclóricos se han convertido en diversas formas de contenidos culturales. En el caso de las series se puede maximizar la imaginación literaria del relato folclórico a través de la pantalla, para que el público conozca fácilmente estas narrativas.
En este curso, abordaremos los relatos tradicionales como fuente de inspiración para las series coreanas. Además, podrás descubrir el abanico de posibilidades que ofrece la reinterpretación moderna de relatos folclóricos en los contenidos culturales contemporáneos.
No es necesario tener conocimientos previos, por lo que esta actividad puede ser interesante tanto para quienes disfrutan con las series surcoreanas como para aquellos que desean comenzar a conocer las narrativas folclóricas coreanas.
Programa
1ª sesión: La historia del Gumiho y My Girlfriend is a Gumiho (내 여자친구는 구미호, 2010)
El gumiho, un zorro de nueve colas, es una de las criaturas clásicas más famosas en Corea. Hasta ahora, el gumiho se ha tratado más en el género de terror, pero en My Girlfriend is a Gumiho se le trata como un ser adorable. En esta sesión, veremos la historia de gumiho y nos centraremos en cómo lo ha reflejado la serie.
2ª sesión: La leyenda de Arang y Arang y el Magistrado (아랑사또전, 2012)
La leyenda de Arang es una historia de la región Miryang en la que sucede el asesinato injusto de una mujer. El espíritu de la víctima vuelve para resolver el asunto, lo que otorga al relato características detectivescas y fantásticas. El año 2012 llega a la pequeña pantalla la serie Arang y el Magistrado. En esta adaptación, se combina la leyenda de Arang con la historia del magistrado Kim Eun Oh, dando tintes de amor y traición a la trama.
3ª sesión: La historia del Dokkaebi y El goblin: El dios solitario y grande (쓸쓸하고 찬란하神 도깨비, 2016)
Dokkaebi es uno de los personajes más interesantes del relato folclórico coreano. Los cuentos sobre dokkaebi son muy diversos y familiares, por lo que tanto niños como adultos pueden disfrutarlos. En esta serie se recrea el dokkaebi más atractivo de la historia de Corea. Durante esta sesión analizaremos las características de El goblin, que ha estado en auge no solo en Corea sino también a nivel internacional. A través de varios relatos descubriremos el encanto de dokkaebi como la fuente primaria.
4ª sesión: La historia del Hada y el leñador y Mamá Hada y el leñador (계룡선녀전, 2018)
Por interesante que sea la historia de Hada y el leñador, es probablemente uno de los relatos más criticados desde la perspectiva de género hoy en día. En línea con el propósito de releer cuentos folclóricos, esta historia, tratada con diversos contenidos culturales, se convirtió “nuevamente” primero en un webtoon y después en una serie. En esta clase, veremos cómo “adecuar” un relato folclórico como fuente primaria desde un punto de vista contemporáneo y analizaremos el nuevo significado.
5ª sesión: La historia de la Princesa Pyeonggang y River Where the Moon Rises (달이 뜨는 강, 2021)
En la última sesión terminaremos con la historia de la princesa Pyeonggang, que junto con Ondal son figuras reales en la historia de Corea. Durante mucho tiempo la princesa ha tomado la figura de ‘esposa ideal’ dado que rescató al inocente Ondal y le convirtió en un general valiente. Sin embargo, la novela Princesa Pyeonggang recrea la historia de ella tratándola como el personaje principal. Gracias a la imaginación literaria de dicha novela, en la que además se inspira la serie River Where the Moon Rises, podemos viajar a un mundo más dinámico y creativo de la historia inédita de la pareja.
Profesora
Chaeyeon Park es profesora asociada de Estudios Coreanos en la Universidad de Salamanca y profesora de coreano en el Centro Superior de Idiomas Modernos (CSIM) de la Universidad Complutense de Madrid. Es licenciada en Estudios de Enseñanza de la Lengua Coreana por la Cyber University of Korea y en Lengua y Literatura Española y Máster en Literatura Hispanoamericana en la Korea University. Dispone del certificado oficial de profesora de lengua coreana.
CFP: 57TH ANNUAL COMPARATIVE WORLD LITERATURE CONFERENCE
57th Annual Comparative World Literature Conference
Venue: California State University, Long Beach. Mainly in person with some Zoom participation.
Dates: Wednesday and Thursday, April 19 and 20, 2023
Keynote Speaker: Cassius Adair (Assistant Professor of Media Studies, The New School), “Reverse Engineering: From Trans Tech Histories to Radical Trans Futures.”
Technology and forms of expression continue to evolve in the digital age. What new frameworks have emerged to grasp, interpret, and challenge issues raised by these advancements? We invite conversation in and around digital humanities research and practice and other approaches that broadly explore “the digital.”
We welcome conversations on how past and present social contexts—i.e. the stresses of a global pandemic, structural racism, climate crisis, and anti-war and human rights struggles—have created new configurations of how we participate in, relate to, and are affected by technology, media, and various digital spaces. We also encourage explorations of how technology and technoculture upholds or challenges the status quo and other structures of exclusion and marginalization, and how digitally-informed inquiry can expose and subvert social inequities and systems of oppression.
Submissions for individual presentations and 90-minute sessions are welcome from all disciplines and global / historical contexts that engage with “the digital,” i.e. digital studies / humanities, new media studies, literary studies, critical race and ethnic studies, Indigenous studies, American Indian studies, Asian American studies, Black / African studies, Middle East / North African studies, Latinx and Chicanx studies, women and gender studies, disability studies, science and society studies, et al.
Possible proposals topics include, but are not limited to:
- Digital humanities approaches to literature and cultural studies
- Electronic literature, web-based narratives, and other forms of digital curation
- Digital forms of journalism, protest / organizing, activism, and archives
- Digital environmental humanities approaches to climate crisis and narratives
- Ethnographic approaches to technological mediations and experiences
- Online communities, social media platforms, identity making, and emerging forms of digital representation and art, i.e. NFT and crypto art markets
- Reflection on the use of the digital in the diasporas: maintaining domestic space, sense of home and homeland in Asia and Africa; the use of the digital in maintaining cultural and historical homeland.
- Intersections with racial and criminal justice; surveillance studies
- Infrastructural and social inequities in technological access, digital cultures, and cyberspaces; anti-racist methodologies
- Ethics of Big Data, A.I., coding, automation, etc.
- Digital neo-colonialism and decolonization, Indigenous data sovereignty
- Globalization, labor demand/markets, and inequity/exploitation in technological production
- Feminism in Digital Spaces: use of the digital help in feminist coalitions across different spaces and nations; building movements via digital spaces
- Cyberfeminist critiques, new approaches to cyborg theory
- Queer digital cultures
- Disability justice, access, technology, and media
- Pedagogical approaches to digital humanities, digital literacy, and other multimodal practices and skills
- Video games/gaming rhetorics, augmented reality, and simulation-based learning
- New forms of media and digital storytelling, databases, and means of connectedness
- Using the digital to preserve languages: digital spaces of translation; the conservation, circulation, production of digital media; using machines to translate; the digital futures of languages and literatures
- Digital religion and spirituality: understanding religious or spiritual practices in a digital world
- Digital archives: gatekeeping; what is lost in digitization
- Digital dystopia
- (Future) digital landscapes used / addressed / predicted in science fiction and speculative fiction
- Social media representation in narratives: where the digital usurps the personal
- Streamer culture and digital fandom
Proposals for 15-20 minute presentations should clearly explain the relationship of the panel or paper to the conference theme, describe the evidence to be examined, and offer tentative conclusions. Panel proposals should articulate how the panel fits into the conference theme. Abstracts should be no more than 300 words (not including optional bibliography). Please submit abstracts as a Word document in an email attachment to comparativeworldliterature@gmail.com
Please do not embed proposals in the text of the email. Make sure to indicate your mode of preference (Zoom or in person) for planning purposes.
The conference committee will review all proposals, on a rolling basis, until March 1, 2023.
comparativeworldliterature@gmail.com
Kathryn Chew
CFP: EDITED VOLUME FOR BLOOMSBURY SERIES IN ASIAN CELEBRITY AND FANDOM STUDIES
‘Star and Celebrity Branding within Asia: Using Comradery Capital’
edited volume for Bloomsbury Series in Asian Celebrity and Fandom Studies
The centrality of the celebrity commodity to the flow of cultural and economic capital in mediascapes has been explored by scholars such as Driessens and Marshall who note that celebrities are “manufactured by the celebrity industry” (Driessens, 2012, p. 643), and a mechanism to sell products. Marshall notes that the “celebrity as public individual who participates openly as a marketable commodity serves as a powerful type of legitimation of the political economic model of exchange and value – the basis of capitalism – and extends that model to include the individual (2014 [1997], p. xlviii).
In a recent publication, Celebrity Bromances (Routledge, 2022), we engage with the notion of the celebrity commodity, expanding Driessens’ celebrity capital to the dynamics of celebrity relationships. Driessens outlines how celebrities become part of the currency in a commodity culture, amassing capital that can be traded for profit to the benefit of the celebrity or affiliated products. Celebrities are therefore seen as cultural commodities (Marshall, 2014; Driessens, 2012, 2013); products of culture that contain value which can be traded for economic capital.
The commodification of celebrity interactions is a lens through which celebrity bromances are explored. We suggest that a “bromance capital” operates in contemporary celebrity culture, wherein the bromance is not only used as a tool to draw attention to individual celebrity figures. It also becomes a cultural “product” which gains value as a consequence of the affective attachments it provokes. Expanding the discussion beyond male homosocial intimacy, we also propose the concept of comradery capital, which is inclusive of group dynamics and functions across genders. Comradery capital refers to inherent value of the presentation of celebrity friendships and how these are utilised for the promotion of movies, television shows, charities, and products. The capital can fluctuate depending on levels of authenticity and how the relationship is performed.
While Celebrity Bromances explored some examples of comradery capital, these examples originated mostly from Hollywood celebrity culture. In our efforts to explore the operation of comradery capital, we wish to examine the various readings of comradery capital across countries in Asia. For example, The Avengers cast promotes their dynamic and films in interviews across Asian countries. Similarly, the way Gal Gadot and Chris Pine perform their friendship in the promotion of the Wonder Woman films or Chris Hemsworth and Tessa Thompson for Men In Black International.
We would like to capture cultures from around Asia including Japan, Korea, Dubai, Lebanon, India, China, Iran, Singapore, Pakistan, Malaysia, Israel and Indonesia. In examining the way comradery capital is performed and perceived in these various regions, the book would be able to capture the way in which celebrities vary their performances of friendship to take into account cultural differences of acceptable physical contact, understanding of language and slang, and the reading of sexuality and gender. It will also examine how comradery capital is a global promotional tool, breaking the barriers of communication.
We welcome contributions that focus on the political economy of comradery capital, as well as the affective/empowering dimensions of comradery capital, including fan and consumer relations.
We encourage interested authors to review definitions of bromance and comradery capital in Celebrity Bromances by accessing the open access chapters at the below links. We encourage an engagement with these concepts in abstracts submitted.
Chapter 4 – ‘Utilising’ Bromances
Chapter 5 – Beyond Bromances
Topics could include, but are not limited to:
- Promotion of Hollywood films in Asian contexts
- Reception of Hollywood cast dynamics in Asian contexts
- The creation and presentation of cast dynamics in Asian contexts, including same and mixed gender (binary and non-binary) casts
- The reception of regional cast dynamics in Asian contexts
- Creation and reception of joint or group celebrity persona
Submission
Please send the following to the editors at: cjcelebrityresearch@gmail.com by April 1, 2023:
- 300-word abstract
- 100-word bio
- 5-6 key words
Contact
cjcelebrityresearch@gmail.com
Anticipated timeline
- Abstract submission deadline: April 1, 2023
- Submission of full proposal to Bloomsbury: July 1, 2023
If the proposal is accepted, full chapters would be expected by November 2023.
CFP: DIVERSE PERSPECTIVES WORKSHOP; BELONGING IN SOUTH AND NORTH KOREAN POPULAR CULTURE
Belonging in South and North Korean popular culture: diverse perspectives Workshop
Universität Hamburg, Asien-Afrika-Institut, Korean studies, August 30th-31st 2023
The categories of nation and nationalism have been major terms under which the construction of belonging has been explored, especially in earlier film studies. Looking at North and South Korean popular culture, the construction of a sense of belonging is diverse. While there have already been some contributions to gender or ideology and propaganda, other representations of the sense of belonging such as to region, nature, physical or social characteristics of communities are still scarce. The cause for diversity might also be based on the different development within the two states. What are the contexts to a certain sense of belonging? What are the modes of representation?
The conference can be attended on site or online. One night accommodation with half-board will be provided by the organiser. Selected papers will be published in a collected volume after the workshop.
Deadline for abstracts (200 – 300 words): February 15th 2023
For further requests, please contact Prof. Dr. Yvonne Schulz Zinda: yvonne.schulz.zinda@uni-hamburg.de
CFP: "CREATIVE KOREA: EXPLORING CONTEMPORARY KOREAN CULTURAL INDUSTRIES AND CULTURAL PRODUCTION" CONFERENCE
“Creative Korea: Exploring Contemporary Korean Cultural Industries
and Cultural Production” Conference
Conference Dates: 4 and 5 May 2023
Venue: Department of Arts, University of Bologna, Bologna (Italy)
Deadline for proposals: 29 January 2023
Result notification: 15 February 2023
In recent years, Korean cultural industries have established themselves as among the most dynamic and successful at the global level, both artistically and commercially. Supported by a series of worldwide successes, the Korean Wave has become one key example of non-Western cultural production that was able to engage global audiences, to influence the way in which they consume pop culture and to adapt to the transformative changes brought by new social and digital media technologies.
The conference will focus on exploring the different aspects of contemporary Korean cultural production, with an inter-disciplinary and multi-disciplinary perspective, including the many different sectors that compose the Korean Wave:
- Film and TV Production
- Music
- Performing Arts
- Visual Art
- Comics and Graphic Novels
- Webtoons
- Animation
- Videogames and E-Sports
- Fashion and Food
The aim is to analyze the multiple factors that have made this growth possible, the specific characteristics of cultural industries and cultural production in Korea, the different influences that shaped this production, the socio-political and economic effects and impact of the spread of Korean cultural products both inside and outside Korea.
SUBMISSIONS should include an ABSTRACT (300 words) and a SHORT BIO (100 words) and be sent to CREATIVEKOREA2023@GMAIL.COM before 29 January 2023.
Proposals from PhD students, early career researchers and independent scholars are welcome.
Publication plan: at the end of the conference, we will look for an opportunity to publish an edited volume.
Enquiries can be directed to: Dr. Mary Lou Emberti Gialloreti, University of Bologna, marylou.emberti@unibo.it
The event is funded by the Academy of Korean Studies. (AKS-2021-INC-2230003)
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