Winner, 2014 Lambda Literary Award in LGBT Studies

Since the 1970s, a key goal of lesbian and gay activists has been protection against street violence, especially in gay neighborhoods. During the same time, policymakers and private developers declared the containment of urban violence to be a top priority. In this important book, Christina B. Hanhardt examines how LGBT calls for "safe space" have been shaped by broader public safety initiatives that have sought solutions in policing and privatization and have had devastating effects along race and class lines.

Drawing on extensive archival and ethnographic research in New York City and San Francisco, Hanhardt traces the entwined histories of LGBT activism, urban development, and U.S. policy in relation to poverty and crime over the past fifty years. She highlights the formation of a mainstream LGBT movement, as well as the very different trajectories followed by radical LGBT and queer grassroots organizations. Placing LGBT activism in the context of shifting liberal and neoliberal policies, Safe Space is a groundbreaking exploration of the contradictory legacies of the LGBT struggle for safety in the city.

As shown by the success of Squid Game and Parasite, South Korea’s film industry is producing films and original series for streaming services, film studios, and television stations worldwide. South Korea is now arguably considered one of the few countries outside the United States to have captivated the world’s hearts and minds through pop music, TV dramas, and film. Similarly, the exponential growth in the South Korean film industry has been mirrored by a growing body of industry and film policy forums and academic conferences in both the East and the West. 

The South Korean Film Industry is the first detailed scholarly overview of the South Korean film industry. The thirteen chapters discuss topics from short films to popular television series that have engaged global audiences. Contributors explore the major changes in South Korean film making, marketing, and in the international growth and popularity of South Korean films. By bringing together a wide range of academic specialists on the South Korean film industry, The South Korean Film Industry situates the current scholarship on South Korean cinema within the ongoing theoretical debates in contemporary global film studies. This volume offers invigorating discussions of the South Korean film industry, as well as its economic, political, and artistic impact on global, local, and regional film industries and cultures.

South Koreans in the Debt Crisis is a detailed examination of the logic underlying the neoliberal welfare state that South Korea created in response to the devastating Asian Debt Crisis (1997–2001). Jesook Song argues that while the government proclaimed that it would guarantee all South Koreans a minimum standard of living, it prioritized assisting those citizens perceived as embodying the neoliberal ideals of employability, flexibility, and self-sufficiency. Song demonstrates that the government was not alone in drawing distinctions between the “deserving” and the “undeserving” poor. Progressive intellectuals, activists, and organizations also participated in the neoliberal reform project. Song traces the circulation of neoliberal concepts throughout South Korean society, among government officials, the media, intellectuals, NGO members, and educated underemployed people working in public works programs. She analyzes the embrace of partnerships between NGOs and the government, the frequent invocation of a pervasive decline in family values, the resurrection of conservative gender norms and practices, and the promotion of entrepreneurship as the key to survival.

Drawing on her experience during the crisis as an employee in a public works program in Seoul, Song provides an ethnographic assessment of the efforts of the state and civilians to regulate social insecurity, instability, and inequality through assistance programs. She focuses specifically on efforts to help two populations deemed worthy of state subsidies: the “IMF homeless,” people temporarily homeless but considered employable, and the “new intellectuals,” young adults who had become professionally redundant during the crisis but had the high-tech skills necessary to lead a transformed post-crisis South Korea.