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"Choe, Steve"
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Afterlives : allegories of film and mortality in early Weimar Germany
\"Weimar cultural critics and intellectuals have repeatedly linked the dynamic movement of the cinema to discourses of life and animation. Correspondingly, recent film historians and theorists have taken up these discourses to theorize the moving image, both in analog and digital. But, many important issues are overlooked. Combining close readings of individual films with detailed interpretations of philosophical texts, all produced in Weimar Germany immediately following the Great War, Afterlives: Allegories of Film and Mortality in Early Weimar Germany shows how these films teach viewers about living and dying within a modern, mass mediated context. Choe places relatively underanalyzed films such as F. W. Murnau's The Haunted Castle and Arthur Robison's Warning Shadows alongside Martin Heidegger's early seminars on phenomenology, Sigmund Freud's Reflections upon War and Death and Max Scheler's critique of ressentiment. It is the experience of war trauma that underpins these correspondences, and Choe foregrounds life and death in the films by highlighting how they allegorize this opposition through the thematics of animation and stasis\"-- Provided by publisher.
Book
A utility of peroral endoscopic myotomy (POEM) across the spectrum of esophageal motility disorders
Background
Peroral endoscopic myotomy (POEM) has been performed as a novel endoscopic procedure to treat achalasia with favorable outcome. The objective of this study was to assess the outcome of POEM in our initial series and to assess the safety and efficacy of POEM in a variety of esophageal motility-related clinical problems.
Methods
This is a retrospective cross-sectional study involving all patients with esophageal motility disorders defined by the Chicago classification, who had undergone consideration for POEM at our institution. Validated questionnaires such as gastroesophageal reflux disease health-related quality of life (GERD-HRQL), reflux symptom index (RSI) and achalasia disease-specific health-related quality of life were obtained pre- and postoperatively.
Results
From January 2013 to October 2014, a total of 35 POEMs (achalasia
n
= 25, non-achalasia
n
= 10) were performed on 33 patients (female
n
= 20, male
n
= 13, mean age 56.9 years). There was no mortality. The rate of inadvertent mucosotomy was 17.1 %. The rate of complications requiring interventions was 5.7 %. During a mean follow-up period of 7 months (range 0.5–17), 92 % of patients with achalasia and 75 % of those with non-achalasia motility disorders had a symptomatic improvement in dysphagia. Chest pain was completely resolved in all patients with achalasia (8/8) and 80 % of patients with non-achalasia (4/5). The GERD-HRQL, RSI and dysphagia scores significantly improved after POEM in patients with achalasia. There was a significant improvement in GERD-HRQL and RSI scores, and a trend toward lower dysphagia score in patients with non-achalasia.
Conclusions
The outcome of POEM to treat achalasia and non-achalasia motility disorders is consistent with previous studies. Potential benefit of POEM includes not only its flexibility to adjust the length and location of myotomy but also the ability to extend myotomy proximally without thoracoscopy or thoracotomy. POEM can be combined with laparoscopic procedures and used as “salvage” for localized esophageal dysmotility.
Journal Article
Sovereign violence : ethics and South Korean cinema in the new millennium
While making reference to dozens of films from the first decade of the twenty-first century, 'Sovereign Violence' performs sustained, comprehensive readings of twenty-one of the most well-known contemporary South Korean films directed by eight auteurs: Hong Sang-soo, Im Sang-soo, Gok and Sun Kim, Kim Ji-woon, Kim Ki-duk, Lee Chang-dong, and Park Chan-wook. Drawing from contemporary film theory and philosophy, as well as reviews, filmmaker interviews, and other primary sources, Sovereign Violence argues that their often violent, contentious films pose urgent ethical dilemmas around life in the age of neoliberal globalization and subsequently point toward new modes of social existence.
Book
Techno-Orientalism
What will the future look like? To judge from many speculative fiction films and books, fromBlade RunnertoCloud Atlas, the future will be full of cities that resemble Tokyo, Hong Kong, and Shanghai, and it will be populated mainly by cold, unfeeling citizens who act like robots.Techno-Orientalisminvestigates the phenomenon of imagining Asia and Asians in hypo- or hyper-technological terms in literary, cinematic, and new media representations, while critically examining the stereotype of Asians as both technologically advanced and intellectually primitive, in dire need of Western consciousness-raising.
The collection's fourteen original essays trace the discourse of techno-orientalism across a wide array of media, from radio serials to cyberpunk novels, from Sax Rohmer's Dr. Fu Manchu toFirefly. Applying a variety of theoretical, historical, and interpretive approaches, the contributors consider techno-orientalism a truly global phenomenon. In part, they tackle the key question of how these stereotypes serve to both express and assuage Western anxieties about Asia's growing cultural influence and economic dominance. Yet the book also examines artists who have appropriated techno-orientalist tropes in order to critique racist and imperialist attitudes.
Techno-Orientalismis the first collection to define and critically analyze a phenomenon that pervades both science fiction and real-world news coverage of Asia. With essays on subjects ranging from wartime rhetoric of race and technology to science fiction by contemporary Asian American writers to the cultural implications of Korean gamers, this volume offers innovative perspectives and broadens conventional discussions in Asian American Cultural studies.
eBook
Park Chan-wook's Critique of Moral Judgment: The Handmaiden (2016) 1
[...]of their individual motives, chinilpa have been uniformly deemed sullied of national character and therefore to be scorned. Since 1945, the indictment and purging of traitors was crucial for politically consolidating the liberated Korean nation-state. According to Jeong-Chul Kim and Gary A. Fine, The former category includes those who signed treaties to relinquish Korean legal sovereignty to Japan and who directly harassed Korean compatriots engaged in independence movements. [...]I have to say that I have made efforts so that this film won't be seen as a film that is made for the male eyes, as it were. Because even if it was say a queer woman who was the filmmaker making this film, who's to say that she won't present a female body in a beautiful way and who's to say that she won't depict these sex scenes and be honest about the excitement these characters feel and to portray these sex scenes in a realistic way. For in following this critique, we might ask of the types of sympathies Park's film encourages and discourages and of the extent to which these sympathies are compelled to undergo critique. [...]how do its shifting sympathies invite or disinvite the viewer's complicity with the Korean characters, or with collaborators, while the voyeuristic pleasures of the viewer produce antipathy with the perverse pleasures of the Japanese characters?
Journal Article
Love Your Enemies: Revenge and Forgiveness in Films by Park Chan-wook
This article discusses the films that make up Park Chan-wook's \"Revenge Trilogy\": Sympathy for Mr. Vengeance (2002), Oldboy (2003), and Lady Vengeance (2005). It places particular emphasis on the last of the three in order to show how the logic of revenge is pushed to its breaking point. While getting even may be, as Park asserts, \"the most foolish thing in the world to do,\" the article argues that another possibility is opened up altogether. Forcing audiences to confront the logic of revenge, the article argues that the \"foolishness\" of retributive justice gives way to the possibility of unconditional forgiveness.
Journal Article
Catastrophe and finitude in Lee Chang Dong's Peppermint Candy: temporality, narrative, and Korean history
The very repetition of the images of trains throughout the film, and the sound of its whistle as it speeds past Young-hoone rushes behind him after his visit to the hospital where Sun-im lies seriously injured, another deafeningly passes by as he captures and violently beats up a political dissident, and a third takes Sun-im away from him after making an impromptu visit-these are the images and sounds of his fatal destiny, pressing forward inevitably and inexorably (Fig. 10.5). To make up for his pathetic military performance in this scene, Young-ho disavows his trauma and is driven to sadistically suppress democratic activities, treat women violently and carelessly, and brutally torture political dissidents for the rest of his adult life. [...]they account for the ways in which the latter actively came together in the face of extreme violence, rather than casting them simply as passive, helpless actors.7 Choi Jungwoon's \"The Kwangju People's Uprising: Formation of the 'Absolute Community'\" argues that the outbreak of the citizens' revolution should be seen as a culmination of a number of historical factors which were galvanized by the pro-democracy demonstrations. [...]a translation of a text by Chung Sangyong and Rhyu Simin, Memories of May 1980: A Documentary History of the Kwangju Uprising in Korea (2003) is perhaps the most academic, relating the historical events leading up to the uprising itself and providing day-by-day details from May 16 to May 27.
Journal Article