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• W1489505903 abstract "Between 1926 and 1936, cinema in colonial Korea was a vibrant business, involving the production of domestic films and the distribution and exhibition of American, British, Chinese, French, German, Italian, and Russian films. During this decade, the first golden age of American cinema in Korea, Hollywood films overwhelmingly dominated the Korean market. Korea was an important territory that Hollywood used in its overall global expansion campaign. Amid this globalization operation, the Government-General of Chōsen’s film censorship apparatus was a financially self-sustaining operation. It paid for its operation by profiteering from the application of more than 6,700 American and 630 other countries’ feature and non-feature films, a vast majority of which were approved with minor, if any, censorship changes. The Government-General’s systematization of film censorship policies was intended to obstruct Communist, revolutionary, and later, socialist themes rather than “Western” themes—at least until the late 1930s, when the Japanese Department of Home Affairs began banning the import of American films and the Government-General intensified the suppression of Korean culture. On April 2, 2005, a conference panel at the fifty-seventh annual meeting of the Association for Asian Studies (AAS) focused on the Japanese Censorship System and Korean Responses in Colonial Korea. Collectively, the panel attempted to proffer a deeper understanding of the colonial period by showcasing the multifaceted ways Koreans negotiated hegemony with imperial Japan, and more specifically censorship policies, which were at the center of the colonial venture. The particular focus and timing of this formative AAS panel provide an explicit wake-up call about the scholarly and historical significance of censorship studies and its status as an emerging area of research. Scholars must pursue a plethora of new directions and paradigms in order to gain a more rigorous understanding of Japan’s larger imperial cultural agenda. Given the challenge of scarce primary sources, among other research limitations, this is no easy task. Primary sources do exist. In this article, I refer to my recent discovery of a small but diverse collection of Japanese, Korean, and English language archive documents concerning film policy and censorship in colonial Korea. To my knowledge, these documents have never been discussed in English or Korean. This article attempts to contribute to the larger ongoing discussions and analyses of the Korean cinema, and to move beyond the conventional and nationalist claims reiterated in many Korean and English-language sources. There is a rich and complex story here, which revolves around the activities of the Government-General of Chōsen (Chōsen Sōtokufu in Japanese), Hollywood distributors, and Korean filmmakers, and their impact on the film industry in colonial Korea. Each profited from film censorship in different ways. Specifically, I focus on the colonial film censorship apparatus in Korea and the dominant role that Hollywood motion pictures played in the Korean market during the 1920s and 1930s. In 1933, a new censorship building was constructed in the Government-General complex in Seoul with state-of-the-art silent and sound film projection equipment compatible with all film formats (sizes, sprocket dimensions, etc.) from around the world. According to detailed Japanese censorship statistics and other archive documents discussed in this article," @default.
• W1489505903 created "2016-06-24" @default.
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• W1489505903 date "2006-01-01" @default.
• W1489505903 modified "2023-09-27" @default.
• W1489505903 title "Film Censorship as a Good Business in Colonial Korea: Profiteering From Hollywood's First Golden Age, 1926-36" @default.
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