Please use this identifier to cite or link to this item: https://hdl.handle.net/10356/156066
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dc.contributor.authorLee, Sangjoonen_US
dc.date.accessioned2022-04-05T01:46:28Z-
dc.date.available2022-04-05T01:46:28Z-
dc.date.issued2017-
dc.identifier.citationLee, S. (2017). Destination Hong Kong : the geopolitics of South Korean espionage films in the 1960s. Journal of Korean Studies, 22(1), 343-364. https://dx.doi.org/10.1215/21581665-4226478en_US
dc.identifier.issn0731-1613en_US
dc.identifier.urihttps://hdl.handle.net/10356/156066-
dc.description.abstractAs the apparent progeny of Cold War politics in the West, espionage films witnessed unprecedented popularity around the globe in the 1960s. With the success of Dr. No (1962) and Goldfinger (1964)—along with French, Italian, and German copycats—in Asia, film industries in Japan, Hong Kong, Taiwan, and South Korea recognized the market potential and embarked on churning out their own James Bond-mimetic espionage films in the late 1960s. Since the regional political sphere has always been multifaceted, however, each country approached genre conventions with its own interpretation. In the US-driven Cold War political, ideological, and economic sphere, developmental states in the region, particularly South Korea and Taiwan, vigorously adopted anti-communist doctrine to guard and uphold their militant dictatorships. Under this political atmosphere in the regional sphere, cultural sectors in each nation-state, including cinema, voluntarily or compulsorily served as an apparatus to strengthen the state's ideological principles. While the Cold War politics that drive the narrative in the American and European films is conspicuously absent in Hong Kong espionage films, South Korea and Taiwan, on the other hand, explicitly promulgated the ideological principles of their apparent enemies, North Korea and the People's Republic of China (PRC), in their representative espionage films. This article casts a critical eye over South Korea–initiated inter-Asian coproduction of espionage films produced during the time, with particular reference to South Korea–Hong Kong coproduction of SOS Hong Kong (SOS Hongk'ong) and Special Agent X-7 (Sun'gan ŭnyŏngwŏnhi), both produced and released in 1966.en_US
dc.description.sponsorshipNanyang Technological Universityen_US
dc.language.isoenen_US
dc.relation.ispartofJournal of Korean Studiesen_US
dc.rights© 2017 The Trustees of Columbia University in the City of New York. All rights reserved. This paper was published by Duke University Press in Journal of Korean Studies and is made available with permission of The Trustees of Columbia University in the City of New York.en_US
dc.subjectHumanities::Historyen_US
dc.titleDestination Hong Kong : the geopolitics of South Korean espionage films in the 1960sen_US
dc.typeJournal Articleen
dc.contributor.schoolWee Kim Wee School of Communication and Informationen_US
dc.identifier.doi10.1215/21581665-4226478-
dc.description.versionSubmitted/Accepted versionen_US
dc.identifier.urlhttp://doi.org/10.1353/jks.2017.0016-
dc.identifier.issue1en_US
dc.identifier.volume22en_US
dc.identifier.spage343en_US
dc.identifier.epage364en_US
dc.subject.keywordsCold Waren_US
dc.subject.keywordsKorean Cinemaen_US
dc.subject.keywordsEspionageen_US
dc.description.acknowledgementThis research was made possible by funding from Nanyang Technological University’s Start-Up Grant (2015–2018).en_US
item.fulltextWith Fulltext-
item.grantfulltextopen-
crisitem.author.deptWee Kim Wee School of Communication and Information-
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