"The rhizomatic Korean screen culture continues to survive and revive, through modification, interconnection, partition, and binding of both old and new lines of segmentarity, and it places its registers in a variety of forms to be transplantable. Its transplantability is well dissected by Gilles Deleuze and Felix Guattari’s A Thousand Plateaus: ‘[A] rhizome may be broken, shattered at a given spot, but it will start up again on one of its old lines, or on new lines’ (1987, 9). This rhizomatic nature allows for Korean screen culture’s rebirth and revival in the Chinese context, transforming hallyu into amnyu in China. In his essay ‘Chinese transnational cinema and the collaborative tilt towards South Korea’, Brian Yecies discusses how and where Korean practitioners are making a mark on Chinese cinema despite the environment of state-censorship. Yecies’ examination of how Korean postproduction connects to the Chinese context in the form of collaboration also testifies to its transplantability by self-partitioning. Yecies argues, ‘China has become a unique steppingstone for the further globalization – and perhaps continued survival – of major sectors of the Korean film industry’ (2016, 230). Korean screen culture’s transplantability not only facilitates its penetration into and continued survival within the Chinese market, ‘a potentially volatile policy environment’, to use Yecies’ term, but also provides resources for Chinese screen culture to be compatible with a capital-driven market economy. Such engagements offer a window to the rich interplay between capitalism and the affective forms of communication via screen media. In such a way, the rhizome continues expanding underground in the shadows."