Click on each box to read the abstract.
“What Language Best Expresses Grief?”: Fragmentation, Polyphony, and Connection in Drive My Car (2021)
Squid Games Played as Scripted Drama or Unscripted Reality: Fluid Hyperrealities with Opposing Purposes
Protecting Okinawan Memory Networks and Sacred Canopies: The Memory Police (1994, 2019) and In the Woods of Memory (2017):
Hysterical Hysteria and Spatialized Paranoia: Korean Dis/Unity in The Wailing (2016), Parasite (2019), and Concrete Utopia (2023)
Neoliberal Business Contracts Versus Countryside Ecosocial Contracts: Next SoHee (2022) and Little Forest (2018)
Hikikomori, Old Maids, and Shoplifters (2018): Precarity and Extinction Anxiety in Japan’s “Relationless Society”
The Sane Person Must Do Handstands in an Insane World: The Horror of Globalization, Translation, and Posthumanism in The Vegetarian (2007)
The Sacrifice Calmly Drink His Tea: Disillusionment and Sadomasochism in The Sailor Who Fell From Grace with the Sea (1963)
Brave Refugee, North Korean “Paris Hilton,” Conservative U.S. Activist: Deconstructing the Public Persona of Park Yeonmi
Burned by Hot Curlers and Bad Art: Revenge Economies in The Glory (2022) and Beef (2023- )
Japanese Ethnonationalism Gets Skinned Alive in the Mongolian Imaginary: Beasts Head for Home (1957) and The Wind-Up Bird Chronicles (1997)
National Nostalgia Interwoven with Ecocritical Anxieties: The Eternal Zero (2006) and Godzilla Minus One (2023) (In Progress)