Abstract
This paper examines the co-implications of CGI filmmaking, US hegemony, and neoliberal financialization as manifested in Korea’s “IMF crisis cinema.” These films are populated by what I term neoliberal forms that epitomize the effort in this cinema to reflect on the innate proximity of popular filmmaking to finance, and specifically on the proximity between its own material apparatus and the economic apparatus that the IMF crisis inserted into the center of Korean public discourse.
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