Abstract
ABSTRACTThe popular and critical success of Oldboy (Park Chan-wook, 2003) has so thoroughly eclipsed the Japanese manga on which it is based that many do not even know that it is an adaptation. This article's point of departure is an examination of the major differences between the Tsuchiya Garon manga Oorudo Boi, and Park Chan-wook's film, not in order to suggest a primacy of the origin, nor to indulge in questions of faithfulness, but rather to investigate the sociopolitical implications of the film's transformations of its material.
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