ReFocus: The Films of Kim Ki-young

Chung-kang Kim is Associate Professor in the Department of Theater and Film at Hanyang University, South Korea. Her research considers the realms of Korean and East Asian cinema, cultural studies, gender, race, sexuality studies, and (trans)national visual culture. She is a co-author of Queer Korea (2020), Rediscovering Korean Cinema (2019), The Holy Nation: Gender and Sexuality in Law and Science (2017), and Orphans, People of No Heritage (2014). Her articles appear in various journals including Journal of the History of Sexuality, The Journal of Korean Studies, and The Journal of Literature and Film.

• List of FiguresNotes on Film Titles, Romanization of Korean Names, and Film FestivalAcknowledgementNotes on ContributorsIntroduction: Kim Ki-young, The First Global South Korean Auteur - Chung-kang KimPart 1: Beyond the Border: Transnational/Hybridity/Border-Crossing1. Kim Ki-young at the Intersection of Cold War Alliance, Reconstruction, and the Artistic Impulse - Han Sang Kim2. ‘We Shall All Need That Basket/A-Frame Carrier’ A Comparative Analysis of Goryeojang (1963) and Ballad of Narayama (1958/1983) - Kyu Hyun Kim3. Love Thy Enemy: Kim Ki-young’s exploration of Korean-Japanese romance in The Sea Knows (1961) - Russell EdwardsPart 2: Beyond the Norm: Psychology, Biopolitics, and Sexuality4. Refiguring The Housemaid (1960)’s Singularity: from Dualism to Triadism Based on the Lacanian Perspective - Sohyoun Kim5. Men, Women, and the Electric Household: Kim Ki-young’s Housemaid Films - Steve Choe6. To Speak and To Be Spoken For: Deafness, Stuttering and the Women in the Films of Kim Ki-young - Ariel SchudsonPart 3: Becoming an (Global) Auteur7. The Intersection of Authorship and Film Regulation During the Period of Military Rule: An Analysis of Kim Ki-young’s National Policy Films, Soil (1978) and Water Lady (1979) - Molly Kim8. Rediscovering Kim Ki-young: The Rise of the South Korean Auteur on the Film Festival Circuit - Jason BechevaiseAppendix

By historically engaging with the first Korean auteur director, this book not only rediscovers Kim Ki-young as one of the most respectable directors but also connects his films to contemporary Korean cinema. It provides fascinating discussions fully supported by diverse voices, which are solid, well-grounded, and academically sound.