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This essay examines the industrial practices behind the domestic success of the South Korean film The Host ( Goemul ; Bong Joon-ho, 2006), highlighting the Korean film industry's ambivalent nationalist-global ideological stance and its increasingly monopolizing and globalizing tendencies, and arguing that Korea's pursuit of indigenous movie blockbusters has turned it into an international producer and distributor of localized global movies.
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Nikki J. Y. Lee (2011) studied this question.
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