HOME IS WHERE THE WAR IS Â America may be reeling from endless recessions and crippling oil wars, but hack reporter Ben Walker never expected to see his homeland invaded and occupied by a reunified Koreaânow a formidable world power under Kim Jong-ilâs dictator son.
The enemyâs massive cyberattack is followed by the detonation of an electromagnetic pulse that destroys technology across the United States. Communications, weapons, and defense systems are rendered useless; thousands perish as vehicles suddenly lose power and passenger jets plummet to the ground.Â
Fleeing the chaos of Los Angeles, Walker discovers that although Americaâs military has been scattered, its fighting spirit remains. Walker joins the soldiers as they head east across the desert, battling Korean patrolsâand soon finds his own mission. Walker reinvents himself as the Voice of Freedom, broadcasting information and enemy positions to civilian Resistance cells via guerrilla radio. Â
But Walkerâs broadcasts have also reached the ears of the enemy. Korea dispatches its deadliest warrior to hunt the Voice of Freedom and crush the ever-growing Resistance before it can mount a new war for American liberty.
This work studies television reporting of the US at war since World War II, including detailed coverage of televisionâs role in the Gulf. Cumings offers insights into the everyday operations of the media and assesses the possibilities of mobilizing them for political purposes. At the centre of this volume is the tale of Cumingsâ own experience as expert consultant to a Thames Television productionâKorea: The Unknown War. The book also features film reviews, anecdotes and several invectives against an array of media executives, retired soldiers and bureaucrats.
This carefully crafted ebook is formatted for your eReader with a functional and detailed table of contents. Descendants of the Sun (Hangul:Â íìì íì; RR:Â Taeyang-ui Huye) is a 2016 South Korean television series starring Song Joong-ki, Song Hye-kyo, Jin Goo, and Kim Ji-won. It aired on KBS2 from February 24 to April 14, 2016, on Wednesdays and Thursdays at 22:00 for 16 episodes. KBS then aired three additional special episodes from April 20 to April 22, 2016 containing highlights and the best scenes from the series, the drama's production process, behind-the-scenes footage, commentaries from cast members and the final epilogue. This book has been derived from Wikipedia: it contains the entire text of the title Wikipedia article + the entire text of all the 254 related (linked) Wikipedia articles to the title article. This book does not contain illustrations. e-Pedia (an imprint of e-artnow) charges for the convenience service of formatting these e-books for your eReader. We donate a part of our net income after taxes to the Wikimedia Foundation from the sales of all books based on Wikipedia content.
Korean cinema was virtually unavailable to the West during the Japanese colonial period (1910-1945), and no film made before 1943 has been recovered even though Korea had an active film-making industry that produced at least 240 films. For a period of forty years, after Korea was liberated from colonialism, a time where Western imports were scarce, Korean cinema became an innovative force reflecting a society whose social and cultural norms were becoming less conservative. Im Kwon-Taek: The Making of a Korean National Cinema is a colleciton of essays written about Im Kwon-Taek, better know as the father of New Korean Cinema, that takes a critical look at the situations of filmmakers in South Korea.
Written by leading Koreanists and scholars of Korean film in the United States, Im Kwon-Taek is the first scholarly treatment of Korean cinema. It establishes Im Kwon-Taek as the only major Korean director whose life's work covers the entire history of South Korea's military rule (1961-1992). It demonstrates Im's struggles with Korean cinema's historical contradictions and also shows how Im rose above political discord. The book includes an interview with Im, a chronology of Korean cinema and Korean history showing major dynastic periods and historical and political events, and a complete filmography.
Im Kwon-Taek is timely and makes a significant contribution to our understanding of Korean cinema. These essays situate Im Kwon-Taek within Korean filmmaking, placing him in industrial, creative, and social contexts, and closely examine some of his finest films. Im Kwon-Taek will interest students and scholars of film studies, Korean studies, religious studies, postcolonial studies, and Asian studies.