Join us on Monday, May 12 3:30 – 5PM in the Communications building (CMU) room 202 for a special panel presentation. What lessons can be learned from the past, when movie theaters were filled with cinephiles and VHS technology created an alternative cultural space? Underscoring the margins of cinema and media studies, three scholars discuss the long-lasting legacies of the film and video cultures of the 1990s and 2000s. An investigates how millennial Korean films deploy speech acts and verbal expression as central elements of their popular appeal and thematic sophistication. Exploring the intersection of affect theory, queer of color critique, experimental video, and porn studies, Nguyen highlights sad porn in the 1990s. Finally, analyzing the inter-Asian remakes of queer cinema, Kim examines inter-Asian remakes of queer cinema as a life-sustaining technique of marginal cinema.
Jinsoo An (East Asian Languages & Culture, University of California Berkeley) has written on the representation of Christianity, nationalism, historical drama, popular justice and legal formalism, and cult film aesthetics in Korean cinema. His book Parameters of Disavowal explores the representation of the colonial past as knowledge production and cultural imagining in South Korean cinema.
Nguyen Tan Hoang (Literature, University of California San Diego) specializes in Asian American visual culture, Southeast Asian cinema, queer cinema, experimental film, race and pornography, and videographic criticism. He is also an experimental videomaker. Nguyen’s videos include Forever Bottom! (1999), PIRATED! (2000), K.I.P. (2002), look_im_azn (2011), and I Remember Dancing (2019).
Ungsan Kim (Asian Languages & Literature, University of Washington) researches the intersection of Asian cinema, queer aesthetics, and experimental cinema.
Accommodation requests related to a disability or health condition should be made by May 2, 2025, to the Simpson Center, 206.543.3920, schadmin@uw.edu. Contact the Simpson Center for the Humanities with questions.