Items where Author is "Lee, NJ-Y"

LEE, N.J.-Y. and STRINGER, J., 2018. From 'screenwriting for sound' to film sound maps: the evolution of live tone's creative alliance with Bong Joon-ho. The New Soundtrack, 8 (2), pp. 145-159. ISSN 2042-8855

LEE, N.J.-Y. and STRINGER, J., 2017. Snowpiercer: sound designable voices and the South Korean global film. In: T. WHITTAKER and S. WRIGHT, eds., Locating the voice in film: critical analysis and global practicies. Oxford: Oxford University Press, pp. 263-278. ISBN 9780190261122

LEE, N.J.-Y. and STRINGER, J., 2017. China's Sundance and corporate culture: creating space for young talent at the Tudou Video Festival. In: C. BERRY and L. ROBINSON, eds., Chinese film festvials: sites of translation. Framing film festivals . [New York]: Palgrave Macmillan. ISBN 9781137550163

LEE, N.J.-Y. and STRINGER, J., 2015. Japanese cinema [forthcoming]. Critical concepts in media and cultural studies . London: Routledge. ISBN 9780415530392

LEE, N.J.-Y. and STRINGER, J., 2015. Japanese cinema: critical concepts in media and cultural studies. Critical concepts in media and cultural studies . London: Routledge. ISBN 9780415530392

LEE, N.J.-Y. and STRINGER, J., 2014. The Korean cinema book [forthcoming]. British Film Institute/Palgrave Macmillan.

LEE, N.J.-Y., 2014. Pop-orientalism and the Asian star body: rain and the transnational Hollywood action movie. In: L. WING-FAI and A. WILLIS, eds., East Asian film stars. Basingstoke: Palgrave Macmillan, pp. 35-48. ISBN 9781137029195

LEE, N.J.-Y., 2013. Apartment horror: Sorum (2001) and Possessed (2009). In: D. MARTIN and A. PEIRSE, eds., Korean horror cinema. Edinburgh: Edinburgh University Press, pp. 101-113.

LEE, N.J.-Y., 2013. Film noir in Asia: historicising South Korean crime thrillers [forthcoming]. In: A. SPICER and H. HANSON, eds., Companion to film noir. London: Blackwell.

LEE, N.J.-Y., 2012. 'Asianization’ and locally customized ‘Kor-Asian’ movies: Goodbye, one day (2010) and Sophie’s revenge (2009). Transnational Cinemas, 3 (1), pp. 81-92.

LEE, N.J.-Y. and STRINGER, J., 2012. Counter-programmng and the Udine Far East Film Festival. Screen, 53 (3), pp. 301-309.

LEE, N.J.-Y., 2012. Ports of entry: mapping Chinese cinema’s multiple trajectories at international film festivals. In: Y. ZHANG, ed., A companion to Chinese cinema. London: Blackwell, pp. 239-261.

LEE, N.J.-Y., 2012. Remake, repeat, revive: Kim Ki Young’s Housemaid trilogies. In: C. PERKINS and C. VEREVIS, eds., Film trilogies: new critical approaches. New York: SUNY Press, pp. 145-163.

LEE, N.J.-Y., 2011. "Asia" as regional signifier and transnational genre-branding: the Asian horror omnibus movies Three (2002) and Three … extremes (2004). In: V.P.Y. LEE, ed., East Asian cinemas: regional flows and global transformations. Basingstoke: Palgrave Macmillan, pp. 103-117.

LEE, N.J.-Y., 2011. East Asian cinema 2010: general tendencies, industrial development and key films. In: Asie: catastrophes naturelles, dynamisme socio- économique et questionnements politiques. Paris: La Documentation Française, Asia, pp. 111-126.

LEE, N.J.-Y., 2011. Korean cinema today: popular genre dominates. Bulletin of the Calcutta International Film Festival, pp. 1-2.

LEE, N.J.-Y., 2011. Korean independent films (and youth) in Jeonju: The 12th Jeonju International Film Festival. Senses of Cinema.

LEE, N.J.-Y., 2011. Localized globalization and a monster national: the host (2006) and the South Korean film industry. Cinema Journal, 50 (3), pp. 45-61.

LEE, N.J.-Y., 2011. Questions of cultural proximity and the Asian popular: South Korean audiences watching Zhang Yimou’s martial arts blockbusters. In: P. GATES and L. FUNNELL, eds., Transnational Asian identities in Pan-Pacific cinemas: the reel Asian exchange. London: Routledge, pp. 101-114.

LEE, N.J.-Y., 2010. Articulating Korean blockbusters. Cinergie: il cinema e le alter arti, pp. 25-27.

LEE, N.J.-Y., 2008. Salute to Mr. Vengeance: Oldboy (2003) and the making of a transnational auteur. In: L. HUNT and L. WING-FAI, eds., East Asian cinemas: exploring transnational connections on film. London: I.B. Tauris, pp. 203-219.