@article{oai:nagoya.repo.nii.ac.jp:02002395,
 author = {イ, ヒャンジン and LEE, Hyangjin and 高橋, 伸夫},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {This paper concerns of a question about how Korean cinema can heal the rupture from the politics of cold war and communicate across the border, breaking away from such! deep division and isolation. Film develops along with its audience. In this paper, I will focus on the audience-oriented criticism of North Korea’s international coproduction which can dismantle the state’s monopoly and communicate with a broader range of global audience. To investigate a quest for the postnational, I will first look into North Korea’s international coproduction ventures that show the cinematic conventions familiar to audiences who enjoy the post-division aesthetics of Korean films as entertainment. And then, I will analyse two North Korea’s coproduction works as the attempt to break down the national boundary; the first North Korean-Japanese coproduction film The Birds (Rim Changbum, 1992) and the first North and South Korean-American coproduction animation entitled Empress Chung (Nelson Shin, 2005)., 高橋伸夫（訳）},
 pages = {70--84},
 title = {冷戦の境界を越えるポストナショナル : 北朝鮮の国際合作ベンチャー},
 volume = {13},
 year = {2022}
}