The Remasculinization of Korean Cinema

Acknowledgments ix Introduction: Hunting for the Whale 1(30) I GENRES OF POST-TRAUMA At the Edge of a Metropolis in A Fine, Windy Day and Green Fish 31(21) Nowhere to Run: Disenfranchised Men on the Road in The Man with Three Coffins, Sopyonje, and Out to the World 52(25) ``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(30) Post-Trauma and Historical Remembrance in A Single Spark and A Petal 107(29) II NEW KOREAN CINEMA AUTEURS Male Crisis in the Early Films of Park Kwang-su 136(26) Jang Sun-woo's Three ``F'' Words: Familism, Fetishism, and Fascism 162(41) Too Early/Too Late: Temporality and Repetition in Hong Sang-su's Films 203(30) III FIN-DE-SIECLE ANXIETIES Lethal Work: Domestic Space and Gender Troubles in Happy End and The Housemaid 233(26) ``Each Man Kills the Thing He Loves'': Transgressive Agents, National Security, and Blockbuster Aesthetics in Shiri and Joint Security Area 259(18) Notes 277(36) Select Filmography of Major Directors of the New Korean Cinema 313(8) Index 321