Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. NOTES ON THE CONTRIBUTORS vii
4. ILLUSTRATIONS xi
5. INTRODUCTION 1
6. PART I FORGING A NEW CINEMA
7. 1. CONTEMPORARY CULTURAL PRODUCTION IN SOUTH KOREA: VANISHING META-NARRATIVES OF NATION 15
8. 2. THE KOREAN FILM INDUSTRY: 1992 TO THE PRESENT 32
9. 3. GLOBALISATION AND NEW KOREAN CINEMA 51
10. 4. CHUNHYANG: MARKETING AN OLD TRADITION IN NEW KOREAN CINEMA 63
11. 5. ‘CINE-MANIA’ OR CINEPHILIA: FILM FESTIVALS AND THE IDENTITY QUESTION 79
12. PART II GENERIC TRANSFORMATIONS
13. 6. PUTTING KOREAN CINEMA IN ITS PLACE: GENRE CLASSIFICATIONS AND THE CONTEXTS OF RECEPTION 95
14. 7. HORROR AS CRITIQUE IN TELL ME SOMETHING AND SYMPATHY FOR MR.VENGEANCE 106
15. 8.TWO OF A KIND: GENDER AND FRIENDSHIP IN FRIEND AND TAKE CARE OF MY CAT 117
16. 9. ‘JUST BECAUSE’: COMEDY, MELODRAMA AND YOUTH VIOLENCE IN ATTACK THE GAS STATION 132
17. 10. ALL AT SEA? NATIONAL HISTORY AND HISTORIOLOGY IN SOUL’S PROTEST AND PHANTOM,THE SUBMARINE 144
18. PART III SOCIAL CHANGE AND CIVIL SOCIETY
19. 11. PEPPERMINT CANDY: THE WILL NOT TO FORGET 159
20. 12. THE AWKWARD TRAVELLER IN TURNING GATE 170
21. 13. MEMENTO MORI AND OTHER GHOSTLY SEXUALITIES 180
22. 14. INTERETHNIC ROMANCE AND POLITICAL RECONCILIATION IN ASAKO IN RUBY SHOES 193
23. GLOSSARY OF KEY TERMS 210
24. BIBLIOGRAPHY OF WORKS ON KOREAN CINEMA 222
25. WEBSITES 228
26. INDEX 229