By Jeff Rovin

A pictorial heritage of the early 40's via early 70's technological know-how fiction videos. Describes some of the videos, the actors who have been in them, and the issues that have been performed to accomplish the consequences that made sci-fi what it really is. essential for any early sci-fi motion picture buff.

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Kawanishi, Reiko. 2006. Rekishi o shireba motto omoshiroi kankoku eiga: Kyupora no aru machi kara ō no otoko made [Korean Films that Are More Interesting If You Know the History: From ‘Town with a Cupola’ to ‘The King and the Clown’]. Tokyo: Random House Kodansha. Kim, Dong Hoon. 2009. Segregated Cinemas, Intertwined Histories: The Ethnically Segregated Film Cultures in 1920s Korea Under Japanese Colonial Rule. Journal of Japanese & Korean Cinema 1(1): 7–25. Ko, Mika. 2010. Japanese Cinema and Otherness: Nationalism, Multiculturalism and the Problem of Japaneseness.

Pacchigi! (Izutsu 2004), and the texts that surround the film and anticipate it in the early 2000s, deploy this late-1960s moment of Koreaphilia in part as a reflection on post-2000 Koreana. © The Author(s) 2016 O. 1007/978-3-319-40877-4_2 37 38 O. DEW Connecting Pacchigi and Ō shima’s film with the Folk Crusaders, Three Resurrected Drunkards [Kaette kita yopparai] (1968), is the Korean ballad Imjin River (Imjin-gan in Korean, Imujin-gawa in Japanese). In February 1968, Kyoto band the Folk Crusaders were poised to release their second single, a Japanese adaptation of Imjin River (Fig.

1996. Aidentiti wo koete [Beyond Identity]. In Sabetsu to Kyōsei No Shakaigaku, ed. Shun Inoue, 1–33. Iwanami Shoten: Tokyo. Kang, Sang-jung. 2004. 9/17 and After: Japan—North Korea Relations and Their Implications for Minority Rights and Media Discourse in Japan. Translated by Risa Tokunaga, Tim Amos and Tessa Morris-Suzuki. Asia Rights, 3. htm ———. 2005. The Discovery of the ‘Orient’ and Orientalism. In Contemporary Japanese Thought, ed. Richard Calichman, 84–100. New York: Columbia University Press.

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