ABSTRACT
This chapter considers the techno-social contexts that made Okja, as a transnational film project, possible as well as the narrative strategies chosen and implemented by a non-Hollywood, local director and his multinational production team. Film, as old media, must confront the development and commercialization of new media technologies. Okja, as a transnational film project, reflects such changes in the media ecology. Okja, as a Netflix original film, followed a Netflix rule, the simultaneous release of movies online and in theaters. Okja is director Bong Joon-ho’s second transnational film involving international personnel, with his first being Snowpiercer. Okja, as a transnational film project, is shaped by the interrelated multidimensional conditions of a changing media ecology. The place where Okja and Mija live is one of a group of areas in 26 countries selected by the Mirando. In Okja, Mija succeeds in saving Okja, but the system of producing and consuming super pigs remains.
