Taking a transnational approach to the study of film culture, this book
draws on ethnographic fieldwork in a South Korean university film club
to explore a cosmopolitan cinephile subculture that thrived in an ironic
unevenness between the highly nationalistic mood of commercial film
culture and the intense neoliberal milieu of the 2000s. As these
time-poor students devoted themselves to the study of film that is
unlikely to help them in the job market, they experienced what a student
described as 'a different kind of fun', while they appreciated their
voracious consumption of international art films as a very private
matter at a time of unprecedented boom in the domestic film industry.
This unexpectedly vibrant cosmopolitan subculture of student cinephiles
in neoliberal South Korea makes the nation's film culture more complex
and interesting than a simple nationalistic affair.