Andrew David Jackson is an Associate Professor, Convenor of Korean Studies and Director of the Monash University Korean Studies Research Hub at Monash University, Melbourne.

Andrew Jackson’s expertly researched book on the rise and fall of non-commercial or art-house film exhibition in late- and post-authoritarian South Korea is a delightful addition to Korean film studies. Highly recommended to anyone who wants to understand what generated famous cinephile directors such as Park Chan-wook and Bong Joon-ho.

• Preface and AcknowledgementsA Note on Romanisation, Names and Film TitlesAbbreviationsChronologyList of Tables and Figures Map of Venues Treated in this VolumeIntroductionPart 1: RiseChapter 1. Late-Dictatorship and Post-1987 Political and Cultural Influences on the Emergence of Cinephilia and Art Film ExhibitionChapter 2. Non-Theatrical Exhibition and the Emergence of an Art Film AudienceChapter 3. The Theatrical Exhibition of Art Film and Korean Cinephilia, 1987-95Chapter 4. The Sacrifice, The Dongsung Cinematheque, Film Media and the Shaping of a New Audience, 1995-6Part 2: DeclineChapter 5. Challenges to Art Houses and the Decline of Cinephilia in a Period of Korean Cinematic ExpansionPart 3: LegacyChapter 6. The New Millennium Evolution of State Support for Art Film ExhibitionChapter 7. Maintaining Art Houses in the New MillenniumConclusion ReferencesAppendixIndex

Andrew David Jackson is an Associate Professor, Convenor of Korean Studies and Director of the Monash University Korean Studies Research Hub at Monash University, Melbourne.

Andrew Jackson’s expertly researched book on the rise and fall of non-commercial or art-house film exhibition in late- and post-authoritarian South Korea is a delightful addition to Korean film studies. Highly recommended to anyone who wants to understand what generated famous cinephile directors such as Park Chan-wook and Bong Joon-ho.

• Preface and AcknowledgementsA Note on Romanisation, Names and Film TitlesAbbreviationsChronologyList of Tables and Figures Map of Venues Treated in this VolumeIntroductionPart 1: RiseChapter 1. Late-Dictatorship and Post-1987 Political and Cultural Influences on the Emergence of Cinephilia and Art Film ExhibitionChapter 2. Non-Theatrical Exhibition and the Emergence of an Art Film AudienceChapter 3. The Theatrical Exhibition of Art Film and Korean Cinephilia, 1987-95Chapter 4. The Sacrifice, The Dongsung Cinematheque, Film Media and the Shaping of a New Audience, 1995-6Part 2: DeclineChapter 5. Challenges to Art Houses and the Decline of Cinephilia in a Period of Korean Cinematic ExpansionPart 3: LegacyChapter 6. The New Millennium Evolution of State Support for Art Film ExhibitionChapter 7. Maintaining Art Houses in the New MillenniumConclusion ReferencesAppendixIndex

Andrew David Jackson is an Associate Professor, Convenor of Korean Studies and Director of the Monash University Korean Studies Research Hub at Monash University, Melbourne.

Andrew Jackson’s expertly researched book on the rise and fall of non-commercial or art-house film exhibition in late- and post-authoritarian South Korea is a delightful addition to Korean film studies. Highly recommended to anyone who wants to understand what generated famous cinephile directors such as Park Chan-wook and Bong Joon-ho.

• Preface and AcknowledgementsA Note on Romanisation, Names and Film TitlesAbbreviationsChronologyList of Tables and Figures Map of Venues Treated in this VolumeIntroductionPart 1: RiseChapter 1. Late-Dictatorship and Post-1987 Political and Cultural Influences on the Emergence of Cinephilia and Art Film ExhibitionChapter 2. Non-Theatrical Exhibition and the Emergence of an Art Film AudienceChapter 3. The Theatrical Exhibition of Art Film and Korean Cinephilia, 1987-95Chapter 4. The Sacrifice, The Dongsung Cinematheque, Film Media and the Shaping of a New Audience, 1995-6Part 2: DeclineChapter 5. Challenges to Art Houses and the Decline of Cinephilia in a Period of Korean Cinematic ExpansionPart 3: LegacyChapter 6. The New Millennium Evolution of State Support for Art Film ExhibitionChapter 7. Maintaining Art Houses in the New MillenniumConclusion ReferencesAppendixIndex