The Remasculinization of Korean Cinema

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Contents: Acknowledgments = ⅸ Introduction: Hunting for the Whale = 1 Ⅰ GENRES OF POST-TRAUMA 1 At the Edge of a Metropolis in A Filn, Windy Day and Green Fish = 31 2 Nowhere to Run: Disenfranchised Men on the Road in The Man with Three Coffins, Sopyonje, and Out to the World = 52 3 “Is This How the War Is Remembered?”: Violent Sex and the Korean War in Silver Stallion, Spring in My Hometown, and The Taebaek Mountains = 77 4 Post-Trauma and Historical Remembrance in A Single Spark and A Petal = 107 Ⅱ NEW KOREAN CINEMA AUTEURS 5 Male Crisis in the Early Films of Park Kwang-su = 136 6 Jang Sun-woo’s Three “F” Words: Familism, Fetishism, and Fascism = 162 7 Too Early/Too Late: Temporality and Repetition in Hong Sang-su’s Films = 203 Ⅲ FIN-DE-SIECLE ANXIETIES 8 Lethal Work: Domestic Space and Gender Troubles in Happy End and The Housemaid = 233 0 “Each Man Kills the Thing He Loves”: Transgressive Agents, National Security, and Blockbuster Aesthetics in Shiri and Joint Security Area = 259 Notes = 277 Select Filmography of Major Directors of the New Korean Cinema = 313 Index = 321

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