Brian Yecies is Senior Lecturer in Media and Cultural Studies at the University of Wollongong. His research focuses on film policy, the history of cinema, and the digital wave in Korea. He is a pastrecipient of prestigious research grants from the Asia Research Fund, Korea Foundation and Australia-Korea Foundation.

Ae-Gyung Shim received her PhD from the University of New South Wales with the support of a Korea Foundation Fellowship for Graduate Studies. She has taught part-time in Communication and Media Studies at the University of Wollongong, and is a 2011 Korea Foundation Post-Doctorial Fellow at the Centre for Asia Pacific Social Transformation Studies.

Introduction 1. Invasion from the West, 1893-1905 2. Foreign Cinematic Spaces and the Birth of the Film Industry, 1905-1916 3. Profiting and Profiteering from the Systematization of Film Censorship, 1916-1936 4. The Coming of the Talkies to the Cinema in Colonial Korea 5. Collaborative Film Production Under Japan's War-Preparation System, 1937-1945 6. Disarming Japan's Cannons with Hollywood's Cameras: Cinema in Korea under U.S. Occupation, 1945-1948 Conclusion

Korea's Occupied Cinemas, 1893-1948 compares and contrasts the development of cinema in Korea during the Japanese occupation (1910-1945) and US Army Military (1945-1948) periods within the larger context of cinemas in occupied territories. It differs from previous studies by drawing links between the arrival in Korea of modern technology and ideas, and the cultural, political and social environment, as it follows the development of exhibition, film policy, and filmmaking from 1893 to 1948. During this time, Korean filmmakers seized every opportunity to learn production techniques and practice their skills, contributing to the growth of a national cinema despite the conditions produced by their occupation by colonial and military powers. At the same time, Korea served as an important territory for the global expansion of the American and Japanese film industries, and, after the late 1930s, Koreans functioned as key figures in the co-production of propaganda films that were designed to glorify loyalty to the Japanese Empire. For these reasons, and as a result of the tensions created by divided loyalties, the history of cinema in Korea is a far more dynamic story than simply that of a national cinema struggling to develop its own narrative content and aesthetics under colonial conditions.