Abstract
ABSTRACT Foregrounding the Korean Wave in storylines, there have been notable co-productions that have cinematically addressed the Southeast Asian fan of “K-Dramas” and her travels to South Korea. By analyzing Ultimate Oppa (2022), I align with a decolonial impulse to study a regional Asian co-production that excludes the usual analysis of the dominant European-U.S. film axis. I argue that intra-Asian co-productions produce ideological asymmetries in these arrangements. In Ultimate Oppa, the relationship between the Philippines and Korea is set against the macro-level influences of unequal “soft power” between Korean and Philippine media, producing visible dialectical tensions. As such, this essay argues that Ultimate Oppa ambivalently presents a cross-national romantic fantasy that reifies regional hierarchies, which are made more palatable through ideological dialectics.
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