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Cinema under National Reconstruction calls for a revisionist understanding of state film censorship during successive Cold War military regimes in South Korea (1961–1988). Drawing upon primary documents from the Korean Film Archive’s digitized database and framing South Korean film censorship from a transnational perspective, Hye Seung Chung makes the case that, while political oppression/repression existed inside and outside the film industry during this period, film censorship was not simply a tool for authoritarian dictatorship. Through such case studies as Yu Hyun-mok’s The Stray Bullet (1961), Ha Kil-jong’s The March of the Fools (1975), and Yi Chang-ho’s Declaration of Fools (1983), the author defines censorship as a dialogical process of cultural negotiations wherein the state, the film industry, and the public fight out a battle over the definitions and functions of national cinema. In the context of Cold War Korea, one cannot fully understand or construct film history without reassessing censorship as a productive feedback system where both state regulators and filmmakers played active roles in shaping the new narrative or sentiment of the nation on the big screen.

Critically Capitalist presents an ethnography of South Korea’s asset seekers, including amateur stock investors, real estate enthusiasts, and money coaches, to demonstrate how financialized asset capitalism is sustained. As they hunt for profit margins, rent, and dividends, they simultaneously critique capitalism and posit their pursuit of assets as a form of resistance. Bohyeong Kim theorizes this new spirit of capitalism in South Korea as “critical capitalism,” arguing that it reflects the popular discontent with both national development and financial neoliberalism. As a paradoxical critique and legitimation, Bohyeong Kim argues that critical capitalism valorizes the capitalist economy not through a triumphant narrative, but by highlighting the emotional wounds, destroyed communities, and oppressive tactics of modern capitalism. 

Drawing on multi-sited ethnography and in-depth interviews with a broad community of aspiring millionaires, Critically Capitalist illuminates how contemporary capitalism thrives by channeling discontent into financial and real estate markets, which in turn has cemented critical capitalism as the cultural and affective backbone of South Korea’s economy.

Cultural Production of Hallyu in the Digital Platform Era explores how histories, industry structures, and politics interact in the platformization of the Korean Wave. Dal Yong Jin argues that while much research centers on the Korean culture takeover and the dominance of Korean products on premier global media platforms, Korean cultural industries also experience reshaping and changing depending on the platforms, often on the global stage. 

Addressing the increasing significance of digital platforms, this work examines the transformative roles of over-the-top streaming services—Netflix, Viki, and V Live—video-sharing platforms such as YouTube, and social media platforms such as TikTok and Instagram, and the power relations between content producers, information technology sectors, the government, creative laborers, and audiences in the globalization of Korean culture and media. By developing critical cultural industries studies as a new theoretical framework, Cultural Production of Hallyu in the Digital Platform Era explores the ever-growing Korean Wave phenomenon with the advent of global digital platforms.