A New Book on Korean Cinema - Representations of Japan in South Korean Cinema of the Park Geun-hye Era: INVADERS, LOVERS AND DEMONS by Russell Edwards

Recently published by Routledge, Australian scholar Russell Edwards new book provides a rare example of a national cinema that has managed to overturn the prevailing global paradigm of Hollywood dominance, South Korean films are nevertheless still haunted by the peninsula’s earlier colonial history. Focussing on a series of films produced during the administration of disgraced and then pardoned President Park Geun-hye (2013–2017), this book examines South Korea’s relationship with Japan and how this relationship continues to be negotiated through films and politics. Containing detailed discussion of significant and internationally renowned films including The Age of Shadows, The Handmaiden and the domestically popular, The Admiral: Roaring Currents, this informative text is a welcome addition to South Korean Film Studies that will also be valued for its examination of how film cycles operate in non-Hollywood cinema. Offering a perceptive look at an under-explored area, this book will be embraced by professionals and laypersons intrigued by South Korea and Japan’s frequently tense relationship.

In different, and surprising, ways the films address the entwined history of the Korean peninsula and Japan as well as the often precarious, contemporary relationship. Destined to become a landmark book for film scholars and Korea-watchers alike, Routledge will be shipping orders in March.  Click here to order

Russell Edwards is a veteran film critic, having written for Variety and SBS Online and is a former programmer for the Busan International Film Festival.

On Blu-ray - David Hare is impressed by Criterion's new edition of MISHIMA: A LIFE IN FOUR CHAPTERS (Paul Schrader, USA

After the major disappointment with Criterion’s new Blu-ray of Midnight, it’s nice to get a really fine, blow-it-outta-the-water 4K UHD of Schrader’s terrific Mishima, complete with giant booklet and a folding box within the sinisterly faux-camp lurid cover.

The UHD is from a brand new 4K scan from Warner and encode from Criterion in-house which just goes to show how good they can be. The decision was made to stay with SDR 8 bit dynamic range rather than 10 bit which is both interesting and compelling. There’s so much visual artifice in the picture by way of extreme high contrast black based B&W and kaleidoscopic color which although wide ranging never pops beyond the intended pastel. 

All things considered this is a brilliant presentation. I rewatched the older Blu-ray before ordering this and I frankly wondered how much better a 4K could be. The answer is emphatically YES IT IS: for depth, texture, detail and sheer filmic consistency. Along with Arrow’s absolutely flawless 4K of American Gigolo these two titles are 4K catnip for fans.