This dissertation explores the processing of syntactic (1) and anaphoric gap-filler dependencies (2) in Korean relative and adjunct clauses ('because' clauses), using event-related brain potentials (ERPs), self-paced reading times, and eye-tracking. 1) [RC _i senator-ACC attacked- REL] reporter-NOM error-ACC admitted. 'The reporter who attacked the senator admitted the error. (2) [BECAUSE _ i senator-ACC attacked-BECAUSE] reporter-NOM error-ACC admitted. 'Because hei attacked the senator, the reporteri admitted the error.' Following a discussion of different syntactic analyses of Korean relative clauses (especially wh-movement and unconditional binding of null arguments) in Chapter 2 and an overview of previous experimental studies (Chapter 3), Chapter 4 investigates the processing of syntactic dependencies using Korean subject (SRs) and object relative clauses (ORs). The results show a processing advantage of SRs over ORs, supporting processing models based on the accessibility hierarchy (Keenan & Comrie, 1977) and the phrase-structural distance hypothesis (O'Grady, 1997). Furthermore, the ERP results show that at the head noun, where the gap and filler are associated, ORs elicit an anterior negativity compared to SRs, similar to the pattern found in English relatives. This effect is attributed to higher working memory load for gap-filler association in ORs. Chapter 5 investigates the processing of backward anaphoric and syntactic long- distance dependencies; the goal is to investigate possible similarities and differences in underlying cognitive/ neural processes. The results show that the processing of anaphoric dependencies is also sensitive to grammatical constraints defined in terms of the accessibility hierarchy or hierarchical structural distance. In the ERP experiment, both syntactic and anaphoric object dependencies elicit a LAN effect compared to control sentences at the matrix subject position. This is taken to suggest that in both types of dependencies, gap-filler association is immediate. However, compared to anaphoric dependencies, syntactic dependencies elicited a larger LAN effect. At the next word, relative to syntactic dependencies, anaphoric dependencies elicited a sustained LAN effect that continued through the end of the clause. The different time-course of these (left) anterior negativities was taken to suggest different gap-filler association requirements for syntactic versus anaphoric dependencies. These results are discussed in light of the syntactic analyses in Chapter 2

This article reassesses the issue of colonial collaboration in the Japanese empire by examining the rise of cinematic coproductions between Japanese and Korean filmmakers. By the late 1930s, colonial Korea’s filmmaking industry had been fully subsumed into the Japanese film industry, and regulations were established that required all films to assimilate imperial policies. The colonial government’s active promotion of colonial “collaboration” and “coproduction” between the colonizers and the colonized ideologically worked to obfuscate these increasing restrictions in colonial film productions while producing complex and contentious desires across the colonial divide. The very concepts of “collaboration” and “coproduction” need to be redefined in light of increasingly complex imperial hierarchies and entanglements. Taking the concept of “code-switching” beyond its linguistic origins, this article argues that we must reassess texts of colonial collaboration and coproduction produced at a time when Korean film had to “code-switch” into Japanese—to linguistically, culturally, and politically align itself with the wartime empire. The article argues that recently excavated films from colonial and Cold War archives, such as Spring in the Korean Peninsula, offer a rare glimpse into repressed and contested histories and raise the broader conundrum of accessing and assessing uneasily commingled colonial pasts of Asian-Pacific nations in the ruins of postcolonial aftermath. Scroll down for film clips referenced in this article.  All clips are from the DVD Spring in the Korean Peninsula made by the Korean Film Archive (KOFA) in 2007. Seoul: Teawŏn Entertainment, Ltd. Used here  with the permission of the KOFA. Clip 1: Spring in the Korean Peninsula opening sequence (0:00-4:35) Clip 2: The film within a film: Ch’un-hyang as a spectacle of colonial kitsch (36:30-43:44) Clip 3: Boardroom scene: corporatization of the colonial film industry (1:03:00-1:06:10)

The articles in this special issue reflect a new and vibrant transnational milieu in which cultural productions under Japanese colonial rule are increasingly scrutinized from perspectives that exceed and often question uncomplicated narratives of national development, stagnation, or oppression, as well as the binary of collaboration versus resistance. Such works call our attention to the antinomies of modernity under Japanese colonial rule, including the often unexpected continuities between colonialism and nationalism, as well as other postcolonial legacies of the colonial era.