Abstract
Screen quota was initially put into force by South Korean government in 1965 but had not been effective until the mid-1990s, during which time an increasing portion of the box office goes to films made by Koreans, the latest figure being 49% achieved in 2001. The success story of this quota policy, moving against the escalating power of rhetoric of liberalisation and globalisation, awaits an explanation. Hence this paper analyses mutual constitutive relationship of film worker, film policy and film capital in South Korea, with a view to providing heuristic experiences to people committed themselves to destabilizing domination of this global Hollywood.
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