This pioneering volume navigates cultural memory of the Korean War through the lens of contemporary arts and film in South Korea.
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Autorenporträt
Dong-Yeon Koh is an art critic and independent art historian currently serving on the Seoul International ALT Cinema & Media Festival Committee. She is an adjunct lecturer at Seoul National University.
Inhaltsangabe
1. "Late Photography" and Cold War Memories 2. The Rise of DMZ Ecotourism and the Real DMZ Project 3. Documentaries on Family Tragedy: My Father's Emails and Dear Pyongyang 4. Affective Memory: Sounds and Smells of the Korean War 5. Monuments, Memorials and Museums for War Veterans in South Korea
1. "Late Photography" and Cold War Memories 2. The Rise of DMZ Ecotourism and the Real DMZ Project 3. Documentaries on Family Tragedy: My Father's Emails and Dear Pyongyang 4. Affective Memory: Sounds and Smells of the Korean War 5. Monuments, Memorials and Museums for War Veterans in South Korea
1. "Late Photography" and Cold War Memories 2. The Rise of DMZ Ecotourism and the Real DMZ Project 3. Documentaries on Family Tragedy: My Father's Emails and Dear Pyongyang 4. Affective Memory: Sounds and Smells of the Korean War 5. Monuments, Memorials and Museums for War Veterans in South Korea
1. "Late Photography" and Cold War Memories 2. The Rise of DMZ Ecotourism and the Real DMZ Project 3. Documentaries on Family Tragedy: My Father's Emails and Dear Pyongyang 4. Affective Memory: Sounds and Smells of the Korean War 5. Monuments, Memorials and Museums for War Veterans in South Korea
Rezensionen
"Dong Yeon Koh's monograph explores the polemical issues of memory, post-memory and trauma from the Korea War to the present in South Korea. With the diverse theoretical framework of post-memory, Koh analyzes documentary photography, Korean films and moving images by contemporary Korea artists who are often distant from the historical events and tragedies and have no direct experiences of them. It is essential reading for understanding post-war Korean history, visual art and culture."
- Yeon Shim Chung (Professor of Art History and Theory, Hongik University, Seoul, Korea)
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