Abstract
From the 1980s on, topographies of the city and country emerged in the Korean cinematic imagination as reactions to Seoul's hypermodernity. Scenes of resting in an idyllic countryside and in rooms hidden within the city often depict eating, indexing a global media trend of linking identity to place. Today, television, film, and digital media are streamed into tablets, and these images affect virtual togetherness in a Korean "mobile nation," an online community of domestic and international viewers consuming "Korea(n food)" together, interstitially. Evocative foodscapes conjure affects of belonging as consumers engage in timed chats and upload content.
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