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The colonial experience of the early twentieth century shaped Korea's culture and identity, leaving a troubling past that was subtly reconstructed in South Korean postcolonial cinema. Relating postcolonial discourses to a reading of Manchurian action films, kisaeng and gangster films, and revenge horror films, Parameters of Disavowal shows how filmmakers reworked, recontextualized, and erased ideas and symbols of colonial power. In particular, Jinsoo An examines how South Korean films privileged certain sites, such as the kisaeng house and the Manchurian frontier, generating unique meanings that challenged the domination of the colonial power, and how horror films indirectly explored both the continuing trauma of colonial violence and lingering emotional ties to the colonial order. Espousing the ideology of nationalism while responding to a new Cold War order that positioned Japan and South Korea as political and economic allies, postcolonial cinema formulated distinctive ways of seeing and imagining the colonial past.

The colonial experience of the early twentieth century shaped Korea's culture and identity, leaving a troubling past that was subtly reconstructed in South Korean postcolonial cinema. Relating postcolonial discourses to a reading of Manchurian action films, kisaeng and gangster films, and revenge horror films, Parameters of Disavowal shows how filmmakers reworked, recontextualized, and erased ideas and symbols of colonial power. In particular, Jinsoo An examines how South Korean films privileged certain sites, such as the kisaeng house and the Manchurian frontier, generating unique meanings that challenged the domination of the colonial power, and how horror films indirectly explored both the continuing trauma of colonial violence and lingering emotional ties to the colonial order. Espousing the ideology of nationalism while responding to a new Cold War order that positioned Japan and South Korea as political and economic allies, postcolonial cinema formulated distinctive ways of seeing and imagining the colonial past.

AbstractIn the context of late capitalism, cultural producers have contributed to the process of precarisation by embracing ideas of autonomy, concomitantly contributing to neoliberal policies and political-economy. I scrutinise the claim for the autonomy of the arts in Eastern Europe, a context that exemplifies the transition from socialism to the neoliberal era. The analysis foregrounds the precarious working conditions of cultural producers during the transition from self-managed socialism to the independent nation-state of Slovenia. In Slovenia, the precarisation of artists had already begun in the 1980s when the socialist government implemented the Law for the Independent Cultural Workers, still in place today. I demonstrate that cultural producers address their working conditions in ideological terms (autonomy), instead of approaching them in terms of class relations that govern cultural production (labour issues). Hence, the claim for autonomy is a strategically misguided response to the dismantling of the welfare state.

Taking as a starting point the banner that came to prominence with the protests against the invasion of Iraq, this article explores the ways in which legal institutions and categories organize the responsibility, and irresponsibility, of its citizens. It does so by providing a variety of perspectives of the relation between state and citizen, and by paying particular attention to how the categorization of responsibility in legal, economic and political terms manages issues of responsibility and its disavowal.

The scholarship of traditional arts revivals is often ironic. Revivalists' activity has been understood as a rational, politically nostalgic, and symbolic re-enactment of a fictional past. In this, scholars have underestimated the significance of disavowal; that is, informants' neutral or negative responses to analytical methods and conclusions. Interviews with English storytelling revivalists reveal a coherent and significant consensus of disavowal, showing their primary concern to be not with nostalgic self-rationalisation, but with basic practical issues of artistic and sociable interaction. Storytelling revival involves nostalgic displays that are actually fragmentary, superficial, and subordinate to practical concerns. This suggests that revivalists are seeking not to symbolise an imagined past for political purposes, but to familiarise recently appropriated performance genres for artistic purposes. This conclusion is hypothetically applicable to the uses of nostalgic rationalisation within other revival movements. ; N/A

The colonial experience of the early twentieth century shaped Korea's culture and identity, leaving a troubling past that was subtly reconstructed in South Korean postcolonial cinema. Relating postcolonial discourses to a reading of Manchurian action films, kisaeng and gangster films, and revenge horror films, Parameters of Disavowal shows how filmmakers reworked, recontextualized, and erased ideas and symbols of colonial power. In particular, Jinsoo An examines how South Korean films privileged certain sites, such as the kisaeng house and the Manchurian frontier, generating unique meanings that challenged the domination of the colonial power, and how horror films indirectly explored both the continuing trauma of colonial violence and lingering emotional ties to the colonial order. Espousing the ideology of nationalism while responding to a new Cold War order that positioned Japan and South Korea as political and economic allies, postcolonial cinema formulated distinctive ways of seeing and imagining the colonial past.

Race in the Anthropocene provides a radical new perspective on the importance of race and coloniality in the Anthropocene. It forwards the Black Horizon as a critical lens which places at its heart the importance of ontological concerns fundamental to problematising the violences and exclusions of the antiblack world. At present, multiple new approaches are emerging through the shared problem field of Anthropocene thought and policy, offering to save not just the world, but the practice of governance, the business of Big Data, the progress of development, and the dream of peace. It is against this backdrop that Race in the Anthropocene unsettles not just the already shaky foundations of modernity but also the affirmative visions of its critics, by directing our gaze to how race and coloniality are baked into the grounding concepts of international thought. This book is essential reading for students of International Relations, particularly those interested in international politics, security, and development. It is also of relevance for those interested in contemporary social, political, and environmental debates and policy practices.

© 2018 by Jinsoo An. A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. The colonial experience of the early twentieth century shaped Korea's culture and identity, leaving a troubling past that was subtly reconstructed in South Korean postcolonial cinema. Relating postcolonial discourses to a reading of Manchurian action films, kisaeng and gangster films, and revenge horror films, Parameters of Disavowal shows how filmmakers reworked, recontextualized, and erased ideas and symbols of colonial power. In particular, Jinsoo An examines how South Korean films privileged certain sites, such as the kisaeng house and the Manchurian frontier, generating unique meanings that challenged the domination of the colonial power, and how horror films indirectly explored both the continuing trauma of colonial violence and lingering emotional ties to the colonial order. Espousing the ideology of nationalism while responding to a new Cold War order that positioned Japan and South Korea as political and economic allies, postcolonial cinema formulated distinctive ways of seeing and imagining the colonial past.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. The colonial experience of the early twentieth century shaped Korea's culture and identity, leaving a troubling past that was subtly reconstructed in South Korean postcolonial cinema. Relating postcolonial discourses to a reading of Manchurian action films, kisaeng and gangster films, and revenge horror films, Parameters of Disavowal shows how filmmakers reworked, recontextualized, and erased ideas and symbols of colonial power. In particular, Jinsoo An examines how South Korean films privileged certain sites, such as the kisaeng house and the Manchurian frontier, generating unique meanings that challenged the domination of the colonial power, and how horror films indirectly explored both the continuing trauma of colonial violence and lingering emotional ties to the colonial order. Espousing the ideology of nationalism while responding to a new Cold War order that positioned Japan and South Korea as political and economic allies, postcolonial cinema formulated distinctive ways of seeing and imagining the colonial past.

This article reframes understandings of pluralism in democratic theory by showing that the management of late and post-colonial identitarian conflict was integral to its incorporation into twentieth-century political science. It does so by reconstructing the central but underexamined place of theories of consociational democracy in efforts to reform South Africa's apartheid constitution in the 1970s and 80s. Consociational democratic theory offered such promising resources for apartheid reform, it contends, because it entwined (a) a conception of social pluralism that redescribed apartheid's racial hierarchy as identitarian difference with (b) a conception of institutional pluralism that curtailed the most transformative possibilities of decolonization through universal suffrage. Recovering pluralism's colonial genealogies clarifies the conditions under which the recognition of identitarian diversity can function as a disavowal of racial domination, positioning democratic theory as an adjunct to projects of neo-colonial order.

Both significant and timely, Blackhood Against the Police Power addresses the punishment of "race" and the disavowal of sexual violence central to the contemporary "post-racial" culture of politics. Here the author asserts that the post-racial presents an antiblack animus that should be read as desiring the end of blackness and the black liberation movement's singular ethical claims. The book redefines policing as a sociohistorical process of implementing antiblackness and, in so doing, redefines racism as an act of sexual violence that produces the punishment of race. It smartly critiques the way leading antiracist discourse is frequently complicit with antiblackness and recalls the original 1960s conception of black studies as a corrective to the deficiencies in today's critical discourse on race and sex. The book explores these lines of inquiry to pinpoint how the history of racial slavery wraps itself in a new discourse of disavowal. In this way, Blackhood Against the Police Power responds to a range of texts, policies, practices, and representations complicit with the police power--from the Fourth Amendment and the movements to curtail stop-and-frisk policing and mass incarceration to popular culture treatments of blackness to the leading academic discourses on race and sex politics.--Publisher website