CURSO ONLINE CASA ASIA «EL ÉXITO GLOBAL DEL CINE Y LAS SERIES DE COREA DEL SUR»

 

Curso online Casa Asia

«El éxito global del cine y las series de Corea del Sur»

¿Cuáles son las claves del éxito que están cosechando el cine y las series de Corea del Sur? En este curso realizaremos un repaso histórico a estas industrias culturales a partir de la estrategia globalizadora llevada a cabo por el país desde los años 90. A través de este recorrido, recordaremos algunos hechos históricos que marcaron para siempre a estas industrias y, muy especialmente, esas películas y series que han sido importantes para la evolución de la cultura contemporánea de Corea del Sur, permitiéndonos comprender, de esta manera, cómo ha sido la trepidante estrategia de expansión que se ha producido en estos últimos 25 años.

No es necesario tener conocimientos previos, por lo que esta actividad podría ser interesante tanto para quienes disfrutan con la ficción surcoreana como para quienes desean comenzar a conocerla.

Programa:

1ª Sesión: Los inicios de la globalización: el nuevo cine coreano

Desde los años 90, la industria del cine de Corea del Sur experimentó importantes cambios que tuvieron su base en el plan Segyehwa anunciado por primera vez en 1995 por el antiguo presidente Kim Young-Sam. Los efectos de la globalización se vieron reflejados en una nueva ola de cine que acabaría conociéndose entre la crítica especializada y el público como el “Nuevo Cine Coreano”. La Generación 386 de cineastas, encabezados por Bong Joon-ho, Park Chan-wook, Kim Jee-woon, Lee Chan-dong, Kim Ki-duk y Hong Sang-soo, obtuvo, de forma inesperada, el mayor reconocimiento internacional.

2ª Sesión: Las últimas tendencias del cine surcoreano

La consolidación de la Generación 386, la proliferación de los nuevos talentos o la experimentación con los géneros cinematográficos han consolidado la presencia del cine surcoreano en el panorama internacional. Así pues, éxitos como Parásitos (Gisaengchung, 2019), de Bong Joon-ho, han permitido dar a conocer a esta cinematografía al público masivo, pero también responden a una estrategia de expansión que comienza a cosechar frutos.

3ª Sesión: Evolución de las series de ficción surcoreanas

La década de los 90, trajo consigo el surgimiento de nuevos canales en la televisión por cable, pero también un incremento en la competitividad en su apuesta por la ficción local. Tras las importantes ventas de la serie What is Love? (Sarangyi Mwogilrae, Park Cheol, 1991-1992) y la consolidación de la ficción surcoreana en la región con Winter Sonata (Gyeoul yeonga, Yun Seok-Ho y Lee Hyung-Min, 2002), los medios de comunicación chinos y japoneses comenzaron a utilizar el término Hallyu para definir el impactante éxito y dominio que aún, a día de hoy, mantiene esta industria.

4ª Sesión: La ficción surcoreana en las plataformas digitales

Por último, finalizaremos nuestro recorrido histórico dedicando una última sesión a la presencia de la ficción surcoreana en las plataformas digitales. Desde 2016, con la participación de Netflix en la superproducción de Okja, de Bong Joon-ho, se ha producido un incremento exponencial en la visibilización del cine y las series de factura surcoreana. De esta forma, se ha facilitado su circulación a escala global, pudiéndose tener acceso a una gran variedad de contenido desde nuestras propias casas.

Profesora:

Sonia Dueñas Mohedas, becaria predoctoral PIPF en el departamento de Comunicación de la Universidad Carlos III de Madrid y miembro del grupo de investigación TECMERIN (Televisión-Cine: Memoria, Representación e Industria). Ha sido becaria Korea Foundation Field Research en la Korea National University of Arts en 2021. Su tesis está centrada en Planet Hallyuwood, la industria cinematográfica de Corea del Sur en la era de la globalización, labor que también combina con el proyecto de investigación «Cartografías del Cine de Movilidad en el Atlántico Hispánico» (CSO2017-85290-P) y la docencia. Es miembro fundador de la Asociación de Difusión de Estudios y Cultura Coreana en España (ADECCE).

Más información

• Fechas: del 4 al 7 de julio de 2022. Lunes a jueves, de 18.00 h a 19.30 h CEST. 4 sesiones de 1,5 horas: total 6 horas.

• Lugar: Online. 24 horas antes del acto las personas inscritas recibirán la información necesaria para acceder.

* Comprueba tu bandeja de correo no deseado en caso de no haberla recibirlo.

• Precio: 39 euros.

• Organiza: Casa Asia, con la colaboración de Japonismo.

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CFP: LONELY NERDS? SPECIAL ISSUE OF EXCHANGES. THE INTERDISCIPLINARY RESEARCH JOURNAL

Call for papers: Lonely Nerds?

We are seeking expressions of interest in contributing to a special issue of Exchanges. The Interdisciplinary Research Journal.

We are looking for contributions to our special issue exploring fictional representations of nerds and loneliness across various media and cultures.

Traditionally associated with a particular niche culture, nerds entered the mainstream through popular formats such as the highly successful TV show The Big Bang Theory (2007-2019) in the early 21st Century. Besides, the pervasiveness of the popular image of nerds has crossed linguistic borders and depictions of nerds are frequent beyond the Anglo-American context, as attested by the term “nerd” being widely used in languages such as Italian or German.

Although nerds are a frequent subject of cultural representations, and academic studies on them are slowly increasing, there is still a dearth of comprehensively structured comparative studies. Most studies on nerds remain firmly anchored in North American culture: Kathryn E. Lane’s recent anthology Age of the Geek (2018), for example, analyses the influence of television, film, and social media on spreading the stereotype in the US and asks the question why American culture can accept a geek character in the media but not in real life. Whilst Lane claims that “the nerd stereotype is accepted as is” it becomes clear that nerds nonetheless often occupy the position of the “other”. This suggests that the term “nerd” is used as a “label” for shifting perceptions of what is deviant from the norm, which correlates with Kam's analysis of the germane Japanese notion of otaku (2015). Our issue will identify relevant parallels with other marginal identities across cultures and explore them in a comparative transnational context and across different media.

The second main premise of the special issue is to challenge the perception of the nerd as the lonely “other”. The 2016 entry in the Oxford English Dictionary defines a “nerd” as “an insignificant, foolish, or socially inept person; a person who is boringly conventional or studious. Now also: specifically a person who pursues an unfashionable or highly technical interest with obsessive or exclusive dedication.” Although more specific definitions are up for debate, it is clear that nerds are closely associated with anti-social behaviours, isolation, obsessive interests (especially for technology and popular culture) or mental pathologies. Within nerds’ supposed confinement and isolation, loneliness is an aspect that is often associated with their interaction with and consumption of technology, particularly since the rise of the tech industry in the 1980s and 1990s. At the turn of the 21st century, technological advancements such as the rise of the internet, Artificial Intelligence and advancements in robotics have complicated notions of loneliness in the context of human-machine interaction. On the one hand, people are constantly tethered together in machine mediated interactions, but are still feeling lonely; on the other, Sherry Turkle argues for a “robotic moment” (2011), when people are ready to accept machines as partners and mediators so that technology becomes the tool with which loneliness can be defeated. This conflicting assessment of technology’s potential to solve the central societal issue of loneliness mirrors the broader polarised discussion of whether machines will solve problems or lead us down a dystopian path (Husain 2017).

Through its analysis of artistic takes on nerds, our issue aims to intervene in the debate about technologies' and popular media’s influence on social bonds, with a particular focus on loneliness. We suggest a broad understanding of loneliness that includes a wide range of societal issues such as stances vis-à-vis society, the positionality of nerds within or outside of it, their intergroup behaviour dynamics and belonging, their feeling of loneliness both derived from physical and/or emotional isolation, or even conceptualised as loneliness within a group.

The issue will hence analyse varying cultural representations of the nerd’s relationship with society in order to critically discuss how various art forms approach the notion of the “lonely nerd”. We want to ask questions such as: Can we still find common characteristics in representations that are not overtly about nerds? Is loneliness inextricable from any representation of nerds, or do we see narratives where nerds actually become, quite anti-canonically, the centre of their community, as small as it may be? And if so, what do these representations tell us about their culture? Are they representational? If this is the case, how can it be used to interrogate relevant phenomena of isolation and loneliness in general?

Possible topics include, but are not limited to, fictional explorations of nerds and loneliness in relation to gender, ethnicity, (mental) health, genius, social status and space, as well as their questioning of traditional cultural representations and genres.

Abstracts of up to 300 words and queries should be submitted to lonelynerds2021@gmail.com by 18th May 2020. Articles should be written in English. Please note: We are also planning a preparatory workshop for accepted submissions, that will be held at SOAS (London) in spring 2021.

Contact information:

Name: Dr Filippo Cervelli - Senior Teaching Fellow in Japanese (SOAS, University of London)

Email: fc15@soas.ac.uk

Name: Dr Benjamin Schaper - Stipendiary Lecturer in German (St Hugh’s College / St Anne’s College, University of Oxford)

Email: benjamin.schaper@st-hughs.ox.ac.uk

Other contact email: benjamin.schaper@t-online.de

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CFP: RELIGION IN SOUTH ASIAN FICTIONS

Call for chapters for an edited book

Religion in South Asian Fictions 

to be edited by Sk Sagir Ali, Goutam Karmakar and Nasima Islam

Concept Note:

In today’s polarised world, religion is seen as a primary cause of social division, conflict and war, while others have argued that this is a distortion of the true significance of religion, which when properly followed promotes peace, harmony, goodwill and social cohesion. The rhetoric of the ‘war on terror’ and the ‘clash of civilizations’ has promoted a geopolitical enemy. This has been accompanied by a shift towards a more ‘muscular’ liberalism. Secularization and cultural pluralism have dethroned the sacred. It has also destabilized the ‘structure of power’ with the concept that of the sacred was there to uphold a society rooted in a single source of religiously mandated authority. With the emergence of individualism with religion and culture, identity is now as much a matter of individual ‘feeling’ as it is about collective conceptions of the ‘sacred’, whether secularized or not.

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