• Cross-Cultural Studies
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• v.20
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• pp.323-346
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• 2010

This study reviews critical literatures regarding Asian cinema, focusing on studies of Japanese cinema, to show that Western scholarship on non-Western national cinemas have been divided into two approaches: traditionalism and modernism. It argues that such a division is not merely a critical tendency but indicative of the fact that a national cinema is an internally divided construct. To support the point, this study examines Chinese film studies conducted by Chinese film critics and the history of South Korean cinema during the 1970s and 80s. Then, it proposes the hegemony model to theorize the inner structure of national cinema. It finally suggests the possibility of comparative film study that the national cinema thesis may activate.

• Cross-Cultural Studies
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• v.51
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• pp.133-160
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• 2018

The films of Apichatpong Weerasethakul and Tsai Ming Liang expose one of the main features of modern Asian cinema: corporality. In their films, the various emotions of characters are expressed and exchanged through the body, not the language, so their film world is a world in which language has lost its function and symbolic order has collapsed. In Apichatpong Weerasethakul and Tsai Ming Liang movies, body language plays a more important role than general language. t=The body performs semiosis, pointing to wildness, anti-civilization, rite, alienation, illusion, etc. At the root of this variety of semiosis is the common denial of Western material civilization which has been rapidly transplanted in modern Asian countries. In addition, while the body of the two directors' films are seen as a sign of wildness, or anti-civilization that contains the intention of escaping from the oppressive and inhuman modern civilization, the body as a sign of illusion, and embraces the will of resistance to civilization. The illusion of experience in their films is ultimately a manifestation of the will to resist the physical and emotional pressures of reality and to continue the irrational persistence.

• Asian Journal for Public Opinion Research
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• v.4 no.3
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• pp.166-177
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• 2017

The Two Nations One Mind film contest was launched by the collaboration between Pukyong National University (PKNU) in Busan, The Republic of Korea (South Korea) and the University of the Thai Chamber of Commerce (UTCC) in Bangkok, Thailand. The project was funded mainly by the Ministry of Foreign Affairs, South Korea. The intention of the project was to increase the recognition of Korea in Thailand through co-production filmmaking between university students from the two countries. This paper aims to look at the feedback from the project participants from both nations as to how international co-productions resulted in cultural exchange and international youth cooperation. The paper also examines the films produced from the project, Blossom, Different (Yet) the Same, Two Taste, Two Nations and When I Was There, for how they reflect the elements of transnational cinema. The comments from the films' audience were also taken as part of the data.

• Asia-Pacific Journal of Business
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• v.2 no.1
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• pp.49-73
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• 2011

With the market evaluation of economic globalization exchanges between different cultures, cultural trade has been developing at an accelerated speed, and also playing an important role in East Asian intra-regional trade. In this research the author used gravity trade model to explain the causal relationship between dependent variable trade flows and several independent variables applying with five categories cultural goods which classified in HS codes. Firstly for cultural heritage trade flow, the results indicated that economic masses of bilateral countries have no significant influences on it; GDP per capita of host country and adjacency factor with partner country have significant negative influences on it; Internet coverage ratio has improved cultural heritages exchanges in East Asian regions. Secondly for printed matter cultural goods trade flow, the distance factor has significant negative influence but common language has significant positive influence on it. Thirdly for recorded media cultural goods, only economic masses and GDP per capita of bilateral countries can improved their trade flows. Fourthly for visual arts cultural products trade flows, almost all variables we tested have significant influences on it. Fifthly for cinema photography cultural goods trade flow, the influenced factor are same with cultural heritage products except they have strong positive interaction relationship with economic masses and common language. At last, the paper figured out some important and potential sectors for cultural goods trade in East Asia and gave some suggestions to government and cultural goods product enterprises.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.328-338
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• 2013

This study aims at exploring the characteristics of interior design of the Cruise line running Korea, Japan and China, and the satisfaction level of the Korean passengers for the interior design. Literature review and the physical traces of the cruise ship interior including 4 types of cabins and public spaces such as main hall, restaurants, outdoor swimming pool, jogging track, theater, meeting room, duty-free shop were performed. Also, the questionnaire to the passengers were used to understand their preferences and satisfaction level for each space. The results show that the passengers are very satisfied with the color and atmosphere of the cabin, while they complain the inconvenience of the bathroom size. Also in the public space, they prefer western classic style and modern style rather than Asian or Korean style. This means that they want the exotic feeling coming out of home. Also they prefer buffet restaurant, duty-free shop, theater, observation platform compared to other public spaces. However, the problem is that there are no place for the Korean family members with young children except for the outdoor pool. The interior and the program should be redesigned for the public spacs such as cinema room, family karaoke and internet-free room for Korean passengers.

• Asian Pacific Journal of Cancer Prevention
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• v.16 no.15
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• pp.6299-6302
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• 2015

Background: The rise in consumption of tobacco products among youth is a public health concern in India. Several studies have shown that advertisements promoting tobacco products influence decisions and behaviour of youth towards smoking. Objective: To ascertain which method of Tobacco Advertising, Promotion and Sponsorship (TAPS) was more influential for initiating tobacco use in youth in India. Materials and Methods: The secondary data of youth (15-24 years) from nationally representative Global Adult Tobacco Survey (GATS) conducted in 2009-2010 was analyzed. Odds ratio and p-value were used to know the association between TAPS and initiation of use of tobacco products among youth. Logistic regression was used to determine the most significant means of TAPS altering the youth's behaviour towards tobacco products. Results: Out of 13,383 youths, 1,982 (14.7%) used smokeless forms of tobacco and 860 (6.38%) used smoke forms. Logistic regression reveals that promotional activities mainly through cinemas (p<0.05) and providing free samples of tobacco products (p < = .001) were most influential means of initiating consumption of tobacco products among youth. Conclusions: The smoking in youth is associated with watching advertisements particularly in cinema and promotional activities like distribution of free samples, coupons and sales on the price of tobacco products. Stronger legislative measures should be enforced to curb promotional advertisements in cinemas and distribution of free samples.

• Cross-Cultural Studies
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• v.51
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• pp.193-212
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• 2018

This paper attempts to explore how Ang Lee depicts Asian and Western women in his films. We focus on two parts of his consciousness First, Ang Lee does not consider himself a feminist, he understands the world in terms of women who play societal roles. Second, Ang Lee's films reflect his identity in a juxtaposition model, in which he is a member of mainstream American society and also holds an onlooker's viewpoint at the same time. He depicts women, who are often marginalized or considered the minority, and their feminist ideals, as means that break down the authority of the father and the man, the traditional ideology, and the male dominant nationalism. Chinese women in movies divide apart traditional Chinese patriarchal ideology and male-dominated anti-Japanese sentiments. Also, the Western women in his films reveal the non-stereotypical appearance of Western society in the 1970s and 1980s, with daily tension, anxiety, abdominal pain and anger, silence and anxiety about homosexual husbands, and excessive obsession. The director's portrayal of women not only separates the male-centered and Western-centered discourse, but also reveals a self-division of internalized masculine patriarchal Asian thought consciousness.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.655-664
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• 2013

The Korean film has not been on the board of Korean waves due to the limitation of the media accessibility. However, N-screen gives Korean films the chance of being on the board of Korean waves, especially in Asian country which have shared cultural codes. This study aims to demonstrate the possibility of Korean films in asia based on the analysis of Korean film viewers' motivation and media usage. For this purpose the 330 data were collected among Korean, Japanese and Chinese from Feb, 23rd through April, 5th in 2013. The results show the followings; 1) Korean viewers have the strong preference of cinema theater to other media such as PC, VCR/DVD player, tablet PC and mobile phones. Whereas, Japanese viewers prefer VCR or DVD players and Chinese viewers prefer PC and mobile phones. 2) In terms of viewing motivation, social utility is most important to Korean viewers while diversion to Japanese and Chinese viewers.