ABSTRACT
Compared to the Chinese-language cinema, the Korean and Japanese production industries have remained based in Seoul and Tokyo respectively, with their primary audiences in each country. In these circumstances, Soyoung Kim and Aaron Gerow in their sections focus primarily on the types of films that are being made and the themes and formal patterns generated in an era characterized by acute awareness of the transnational. Kim argues that for Korean cinema, the result has been expansive, but in complicated ways, whereas Gerow traces a more reactive and paradoxical reinforcement of national particularity through transnational awareness in the case of Japan.
