Abstract

Overused and under-theorized, the term "transnational" remains crucial for any dynamic examination of problems and processes in World Cinema. It sits between local context and global context. While national and international approaches have the advantage of clear demarcations, they do not respond to the unofficial life that cinema lives transnationally. Like other bottom-up phenomena (fashion, religion, even disease), films do not obey national boundaries. In this regard the position of Korea is anomalous, for here a national policy put into effect in 1995, aims directly at transnational results. This article looks briefly at pre-1995 Korean films and then at those that have come since, in order to gauge the extent to which a national policy can promote a transnational consequence (different from mere export).