Looking Back on Colonial Korea: Nostalgia and Anti-Nostalgia in Park Chang-wook's The Handmaiden.
This article examines how South Korean director Park Chan-wook's 2016 film The Handmaiden (Agassi) retrospects on Korea's late colonial period by keeping out of reach any unproblematic return to Korean sovereign nationality. Instead, the film keeps the tense suspended in a "futureless" colonial mode...
| Publicado en: | Journal of Commonwealth & Postcolonial Studies Vol. 7; no. 2; pp. 146 - 162 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
University of Florida, Board of Trustees
Fall2019
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=147330914&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 147330914 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 10731687 52Y1 jtl: Journal of Commonwealth & Postcolonial Studies issn: 10731687 maglogo: N pubinfo: dt: Fall2019 vid: 7 iid: 2 pid: 25577 pub: University of Florida, Board of Trustees artinfo: ui: 147330914 10.5744/jcps.2019.1003 ppf: 146 ppct: 16 formats: fmt: @attributes: type: P size: 7MB tig: atl: Looking Back on Colonial Korea: Nostalgia and Anti-Nostalgia in Park Chang-wook's The Handmaiden. aug: au: Kim, Andrew su: Handmaiden, The (Film) Pak, Ch'an-uk, 1963- Citizenship Patriarchy Nostalgia sug: subj: Citizenship Patriarchy Nostalgia Handmaiden, The (Film) Pak, Ch'an-uk, 1963- ab: This article examines how South Korean director Park Chan-wook's 2016 film The Handmaiden (Agassi) retrospects on Korea's late colonial period by keeping out of reach any unproblematic return to Korean sovereign nationality. Instead, the film keeps the tense suspended in a "futureless" colonial modernity where characters navigate the perceived dead end of Japanese cultural imperiality and patriarchy. This article considers how the liberal cosmopolitan subjectivity offered to oppressed women in the film may not sufficiently emancipate them from the larger global colonial matrix. In fact, the film's anti-nostalgia for the Japanese colonial period may work to displace national identifications and assert a contemporary nostalgia for English modernity. pubtype: Periodical doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
|---|