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During the Cold-War, in the East Asian capitalist camp, unique exchanges through cinema between South Korea and overseas Chinese cultures, such as Hong Kong and Taiwan, had continued. The results of this series of exchanges were then called “Korea-China joint cinema” in S. Korea, and spurred trans-national imagination within the limits caused by the Cold-War, and facilitated interaction. This paper intended to consider the background and meaning of the location filming in S. Korea, through two Costume Films Raining in the Mountain(空山靈雨) and Legend of the Mountain(山中傳奇)(both were released in 1978), those were shooted in S. Korea by King Hu(胡金銓). So far, critics' interest in King Hu's films has largely been focused on hardcore martial arts films. These two films were relatively out of focus of discussion. However, due to remastering work which is recently led by the TFI(Taiwan Film Institute), the true worth of the two films revealed, and the necessity for a re-evaluation emerged. Accordingly, This paper analytically examined the effects of the location filming on the work, with method of context study. Especially, by categorizing location problems into spaces and places, this tried researching deeply how recognition and materialization of spaces, ‘hommage’ and ‘styling’ about places are embodied out. Of course, exploring the creator's perception and deed about location filming in this paper, will ultimately be connected to the interpretation of the film text itself.