I LIKE IT. Tiny notes: "explosion in" reads a bit awkwardly/it's a little unclear what "tense situation"--tense political situation bw the two countries?/"produced products" is a teeny bit redundant/the sentence that begins "This study aims" starts out quite strong but the "and in relation to" bit at the end makes your meaning a little unclear. Would it perhaps make more sense to say "within the greater thread of BLAH, w/ a particular focus on the current discourse of BLAH" BUT YEAH 超好き／めっちゃ読みたい
thanks dude, I got a whole paper on this shit that I hope to present in hongkong (hence the abstract) but it kinda sucks and I need to completely fix it up - if you wanna read it I can share it with you, it’s on google docs. bu yeah, すごく世話になった
Representations of Korean and Zainichi Korean Identity in Post-2000 Japanese Cinema
In the early 2000s, Japan’s relationship with North and South Korea came under intense domestic scrutiny after Japan was engaged in a series of international exchanges with the two countries in relation to Japan’s WWII-era atrocities and unresolved border disputes with South Korea. These exchanges coincided with a massive explosion in South Korean cultural imports into Japan, exacerbating an already tense situation within the country. Partially as a result of this scrutiny, several media outlets in the film industry and beyond produced a number of products directly addressing the relationship between Japan and Korea, its history, its effect on the Japanese population, the current status of Japan’s own substantial ethnic Zainichi Korean minority, and how these have changed with the evolving relationship between Japan and the Korean peninsula. These materials reflect a diverse reaction to a new relationship between Japan and Korea, with examples ranging from essentialist nationalism of the manga Kenkanryu, to questions of identity within the Zainichi community in the films Go and Pacchigi, to the future-oriented social exchange seen in the film Linda Linda Linda. This study aims to analyze and explain the common threads and discrepancies in the pieces produced during this period and place it within the greater thread of Japanese cinematic discourse on Korea, and in relation to the current discussion on Japan-Korea relations in the most recent decade, with a focus on the aforementioned films. This study will also show how the image of Koreans in Japanese cinema has changed to reflect changes within Japan’s minority populations, the relationship ethnic Koreans have with the peninsula, and the new relationship Japan carries with both North and South Korea.
Police say Crossland then elbowed one officer in the head, at which point he was punched, taken to the ground, kicked several times, and pepper sprayed. Both the trial court, the appeals court, and even the prosecution acknowledge that because Crossland was doing nothing wrong before the incident, it was illegal for the police to stop, detain, and search him. Nevertheless …
… as the trial court recognized, the APO statute “prohibits forceful resistance even if the officer’s conduct is unlawful.” Dolson v. United States, 948 A.2d 1193, 1202 (D.C. 2008) (explaining that the rationale for this rule is to “deescalate the potential for violence which exists whenever a police officer encounters an individual in the line of duty”) …
So even if the police illegally stop you, detain you, and beat you, you aren’t permitted to resist. Just roll over and take it. Submit.
A thought: the way that this is written suggests that whatever a cop is doing that may be illegal is protected against resistance. Does this give cops carte blanche to break the law, and we just have to roll over and take it?
I’m from NYC, where stories about corrupt and abusive cops are a dime a dozen. I’ve read about the militarization about police forces across the country. What does it mean when the protectors of the public realm are only interested in protecting their own bureaucracy and comfort?
See related: racist stop-and-frisks and the culture amongst its victims. This article details an experience of living in New York I’ve heard about many times from friends, but have never experienced personally, which is a terrifying thought for the place I’d like to think I know best. But this is a whole different post to make.
“Here’s what I learned: If you want to do photography at a level that really satisfies your soul and your ego you’ll need to do it alone. Forget having the spouse or girlfriend or best friend or camera buddy tagging along. Forget the whole sorry concept of the “photo walk” which does nothing but engender homogenization and “group think.” Leave all electronics in your hotel room. Cut off all communications, during the day, from or to the “real world” and immerse yourself in the hunt for images. Learn what makes your brain salivate and why. Learn to operate that camera by braille. And make your decisions based on what your inner curator wants you to say.”—The Visual Science Lab / Kirk Tuck: Lonely hunter. Better hunt. (via bandh)
requires trekking across Miyagi prefecture to Ishinomaki in what will likely be a 2+ hour ride each way… At least today’s just meant sitting around Sendai station waiting and trolling tumblr. And I’ve never been to Ishinomaki - definitely gonna bring the camera.