Anyone who has been watching for the last decade or so has witnessed the rapid growth and blockbusterization of South Korean cinema and its transformation from what was a marginal pop-cultural backwater into local success story gaining increasing attention from audiences across Asia and even in the West.

A number of authors have grappled with this transformation in different ways over the years, from thoughtful discussion of the cinema, and sharply focused explorations of specific filmmakers’ work, to the pointless boosterism of a few touting the so-called “Korean Wave.”

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