Abstract
This chapter looks at the regional spread of kaijū films by focusing on a case study of Korean monster movies. Korean–Japanese relations have been defined by the latter’s occupation of the Korean peninsula. As such, the production of South Korean variants became a means through which South Korean filmmakers could appropriate material for a popular family film form, even though Japanese culture was banned. The chapter looks at how kaijū movies by South Korean filmmakers, albeit produced sporadically, emphasise aspects of transnational mobility for cultural products and personnel who travelled to work on them. Furthermore, the chapter examines how the kaijū film continued to be a means of exploring cross-border politics and connections as transnational relationships developed across the twentieth century.
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