| The aporia of presentation: Deconstructing the genre of K‐pop girl group music videos in South Korea MA Unger Journal of Popular Music Studies 27 (1), 25-47, 2015 | 47 | 2015 |
| Castaing-Taylor and Paravel's GoPro Sensorium: Leviathan (2012), Experimental Documentary, and Subjective Sounds MA Unger Journal of Film and Video 69 (3), 3-18, 2017 | 20 | 2017 |
| Beyond Hallyu: Innovation, Social Critique, and Experimentation in South Korean Cinema and Television J Kim, MA Unger, KB Wagner Quarterly Review of Film and Video 34 (4), 321-332, 2017 | 15 | 2017 |
| Hong Sangsoo’s codes of parallelism M Unger Asian Cinema 23 (2), 141-156, 2012 | 12 | 2012 |
| The Significance of Beyond Hallyu Film and Television Content in South Korea's Mediasphere J Kim, MA Unger, KB Wagner Quarterly Review of film and Video 34 (4), 315-320, 2017 | 7 | 2017 |
| Photographic and cinematic appropriation of atrocity images from Cambodia: auto-genocide in Western museum culture and The Missing Picture KB Wagner, MA Unger Visual Communication 18 (1), 83-106, 2019 | 2 | 2019 |
| The extreme subjectivity of Ross McElwee: home as docu-movie MA Unger Studies in Documentary Film 9 (3), 189-200, 2015 | 2 | 2015 |
| The Narratology of the< Russian Doll> Complex Serial Drama-Spiral Story Structure as a Time Loop MA Unger 영상기술연구, 249-269, 2019 | 1 | 2019 |
| Beyond Hallyu: Innovation, Social Critique, and Experimentation in South Korean Cinema and Television J Kim, MA Unger, KB Wagner World Entertainment Media, 173-181, 2019 | 1 | 2019 |
| Transnational Desires and Codes of Neo-Noir:-A Comparative Analysis of John Dahl’s< Red Rock West (1993)> and Kim Jee-woon’s< A Bittersweet Life (2005) MA Unger CONTENTS PLUS 14 (3), 55-77, 2016 | 1 | 2016 |
| A Study of the Impenetration of the Human and the Technological in Science Fiction Film M Unger Moving Image Technology Association of Korea, Seoul, 2015 | 1 | 2015 |
| Seaports as criminal gateways in contemporary South Korean cinema: illicit globalization and marginalized subjects in The Yellow Sea (2010) and New World (2013) KB Wagner, MA Unger Journal of Cultural Geography, 1-22, 2024 | | 2024 |
| Performative liveness in Lost in London: cinematic streaming and the digital happening in globalising London MA Unger, KB Wagner Global London on screen, 192-209, 2023 | | 2023 |
| TRANSNATIONAL TROPES OF THE COMBAT FILM GENRE: A COMPARATIVE ANALYSIS OF THE KOREAN WAR\DIVISION FILM\: BATTLE OF INCHEON: OPERATION CHROMITE (2016) and WOLMI ISLAND (1982) MA Unger 영상기술연구, 21-44, 2023 | | 2023 |
| PUSHING MIXED CINEMATIC MODES TO THE EXTREME: KNIGHT OF CUPS AND SONG TO SONG AS THE WATERSHED OF TERRENCE MALICK'S FRAGMENTED CINEMATIC AESTHETICS MA Unger 영상기술연구, 241-261, 2022 | | 2022 |
| Performative Liveness in< Lost in London>(2017)-Live Streaming the Long Take in Global London as a Digital Happening MA Unger 영상기술연구, 245-266, 2020 | | 2020 |
| Forging the Personal with the Historical in Cheonggyecheon Medley: Experiments in Documentary Form in South Korea MA Unger 영상기술연구, 39-60, 2018 | | 2018 |
| A Study of the Impenetration of the Human and the Technological in Science Fiction Film: Revisiting Blade Runner: Revisiting Blade Runner MA Unger 영상기술연구, 99-119, 2015 | | 2015 |
| 173Beyond Hallyu Innovation, Social Critique, and Experimentation in South Korean Cinema and Television J Kim, MA Unger, KB Wagner World Entertainment Media: Global, Regional and Local Perspectives, 173-181, 0 | | |
| Cinematic Representations of Korean Cities in Hollywood Film: Techno-Orientalism From Neo-Seoul to the Marvel Universe MA Unger | | |
