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2013 - Association for Slavic, East European and Eurasian Studies 45th Annual Convention Words: 37 words || 
1. Shembel, Daria. "What Games Steal from Film? Theorizing Spaces in Films and Digital Media" Paper presented at the annual meeting of the Association for Slavic, East European and Eurasian Studies 45th Annual Convention, Boston Marriott Copley Place, Boston, MA, <Not Available>. 2019-10-20 <>
Publication Type: Panel Paper
Abstract: The paper discusses the aesthetics of space in films and video games, and explores the issues of video game adaptations of cinematic works that are marked by particularly innovative approaches to the construction of spaces and environments.

2013 - Association for Slavic, East European and Eurasian Studies 45th Annual Convention Words: 146 words || 
2. Lovejoy, Alice. "'All of Film is An Experiment': Nonfiction Film, Postwar Reconstruction, and 'Building Socialism' in Czechoslovakia" Paper presented at the annual meeting of the Association for Slavic, East European and Eurasian Studies 45th Annual Convention, Boston Marriott Copley Place, Boston, MA, <Not Available>. 2019-10-20 <>
Publication Type: Panel Paper
Abstract: This paper will examine the intersection between Czechoslovak nonfiction film (1945 – 1955) and discourse about/practices of postwar reconstruction and “building socialism.” Through analysis of discourse about documentary in newspapers and journals, events such as the 1948 World Congress of Documentary (held in the spa town of Mariánské Lázně), and institutions such as the Czechoslovak Army Film studio (an important producer of such films), the paper will explore how the “short film” (a broad category encompassing multiple modes of nonfictional production) was seen as a particularly effective agent in the infrastructural and ideological dimensions of postwar statecraft. At the same time, it will argue that postwar Czechoslovak documentary must be understood in two broader contexts: one temporal (developing in continuity with interwar Czechoslovak discourse about nonfiction film), and one geographic (looking not only to the Soviet Union, but also to Britain and Western Europe, for models).

2013 - International Communication Association Words: 238 words || 
3. Canedo, Daniele. "Building a Regional Film Space through National Policies? Analysis of Film Policies of Mercousr Countries Aimed at Regional Integration" Paper presented at the annual meeting of the International Communication Association, Hilton Metropole Hotel, London, England, <Not Available>. 2019-10-20 <>
Publication Type: Session Paper
Abstract: In South America, film policies released by the Southern Common Market (Mercosur) state that the audiovisual sector is an instrument able to support the regional integration process. In 2003, the entity formed by Argentina, Brazil, Paraguay, Uruguay and Venezuela, created The Specialized Meeting of Cinematographic and Audiovisual Authorities (RECAM), an agency responsible for film policies. RECAM’s main objectives are to strength the production, promote the circulation of local content and support the consolidation of a regional film space. In spite of this, indicators about the film sector in Mercosur show that instead of a common film industry, there are five different national realities both regarding to the main features of the markets and who are the main players in the sector. This paper focuses on policies and laws developed by the Mercosur National States in order to know whether they contribute to the pursued integration of the film industries, promote new audiovisual flows and, consequently, support economic and cultural objectives. The research tackle the issue by analyzing policy documents of Mercosur countries in the period of 1991 till 2012 divided into three categories: 1. harmonization of national laws and regulations; 2. bilateral cooperation agreements within Mercosur countries; 3. national policies aiming to benefit others Mercosur countries. The methodological approach is framed in the public policy analysis tradition and in the Political Economy of Communication and Culture. The data collection includes literature review, policy documents, databases and semi-structured interviews.

2016 - AAS-in-Asia, Kyoto Words: 251 words || 
4. Ahn, Minhwa. "(Beyond) Cold War governmentality and anti-Japanese sentiments in Postwar South Korean and Japanese films: Co-produced Films Between Zainichi and Japanese as the possibility of alternative communalism" Paper presented at the annual meeting of the AAS-in-Asia, Kyoto, Doshisha University, Kyoto, Japan, <Not Available>. 2019-10-20 <>
Publication Type: Panel Paper
Abstract: During the postwar period, exchanges between the film industries of Korea and Japan were officially prohibited. For this reason, Korean films made during this period have rarely been studied in relation to postwar Japanese films. However, postwar Korean and Japanese films could be seen as sharing and participating in a similar transformative process driven by the U.S. occupation’s cultural politics. In this context, films such as “liberation” (kwangbok) films, Idea Pictures, and USIS and CIE films conveyed the ideology of anti-Japanese militarism and American liberalism propagated by U.S. occupation’s film policies. At the same time, contemporaneous cinematic practices were employed in Japan and Korea to counter those policies. For example, Children in Crisis (Lee Hyung-pyo, 1954) and Children in the Classroom (Hani Susumu, 1955) expressed skepticism for the US occupation’s policies. Using direct cinema and cinema verité style, they avoided the promotional Griersonian documentary style preferred by the U.S. occupation. There was also the cinema verité film movement co-produced by Japanese Independent Production filmmakers (led by socialist film directors Kamei Humio and Arai Hideo) and zainichi filmmaker Kim Sun-myoung’s Tokyo Kino Productions. Two representative films of this movement, Children of the Base (1953) and Children of Korea (1954) deal with the oppression experienced by minorities within Japan and their resistance to both the U.S. occupation and the Japanese government. My paper explores the ways in which this film movement suggests the possibility of alternative “communalism,” beyond the liberal governmentality of the U.S. occupation, the vestiges of Japanese imperialism and postcolonial nationalism.

2016 - ICA's 66th Annual Conference Pages: unavailable || Words: unavailable || 
5. Kim, Molly. "South Korean Hostess Film and Film Censorship During the Military Regime (1960-1979)" Paper presented at the annual meeting of the ICA's 66th Annual Conference, Hilton Fukuoka Sea Hawk, Fukuoka, Japan, Jun 09, 2016 Online <APPLICATION/PDF>. 2019-10-20 <>
Publication Type: Conference Paper/Unpublished Manuscript
Review Method: Peer Reviewed
Abstract: Park Chung Hee’s military regime (1960-1979) is notorious for state-operated censorship which exerted unprecedented power over film studios and directors. The military government purportedly used film censorship to distract the public from political consciousness by controlling political materials in films while condoning censorship control on sexual content. As a result, the production of soft-core adult films soared and became popular among Korean audiences. One of such films that thrived during this period, so called, Hostess Film (prostitute films) is worthy of attention because this strand of films is characterized not only for the exploitive employment of female sexuality but more importantly for the filmic representation of poverty, rape, and other lower-class issues which the state censorship board particularly sought to regulate.
In viewing such dynamics between state censorship and film, the following questions are inevitable: how was it possible that the state was willing to turn a blind eye on the explicit sexualization of women in hostess films when film censorship was at its peak? Why were the social and political aspects of this group of films about female sexual workers not seriously considered socially relevant by the government at a time when censorship was so high?
This articlw aims to unravel the above issues by scrutinizing the interplay between Park’s state censorship and hostess films using censorship records and notes. Furthermore, it offers an analysis of a hostess film, The Rose that Swallowed Thorn (Cheong, 1979) as a case study to show how this film strategically orchestrates visual and thematic elements to circumvent state censorship enforcement.

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