This article reconstructs the mining practices and social activities of Chinese migrants in Maliwun, a tin-rich Burmese village on the Siam-Burma border between the 1840s and 1890s. Despite its natural resources and repeated mining attempts by various stakeholders, Maliwun could not materialise its potential and was slow in tin production and community development throughout this period. By focusing on the internal dynamics among its Chinese miners, especially around the rivalling Chinese “secret societies,” this article situates the frontier mining settlement within a larger regional network of the Southeast Asian Chinese and traces its Chinese community’s evolving relationships with fellow countrymen along the southern Siamese and northern Malayan coastlines. It argues that grassroots organisations played a crucial role in the early formation of this frontier Chinese migrant community, which was sitting at the intersection of political, labour, resource, gender, and ethnic frontiers and exhibited key features of fluid boundaries and transnational networks. Yet, these impacts should not be overstated, individually or collectively. The slow development of Maliwun calls for a careful reassessment of the limitation of roles played by porous borders, hybrid interactions, and transnational networks at a historic frontier.

Hallyu has expanded significantly through digital platforms since the 2010s. While Netflix has played a crucial role in distributing Korean content worldwide, its platform-driven strategies typically favour commercially optimised and formulaic narratives. This article examines an alternative dynamic through the 2021 Netflix docuseries My Love: Six Stories of True Love, which builds upon South Korean director Moyoung Jin’s earlier independent documentary My Love, Don’t Cross That River. Produced with local teams across six countries under Jin’s executive oversight, the series preserves an aesthetic and political sensibility rooted in Korea’s minjung documentary tradition. Its sustained focus on marginalised elderly couples and the intimate relationship between camera and subject represents a significant departure from Netflix’s standard original docuseries, which often centre on scandalous crimes, sensational narratives, or planetary issues such as climate crisis. The article investigates how culturally specific narratives can achieve global resonance without diminishing local contexts. The analysis traces the culturally sensitive translation of a local independent documentary to a transnational Netflix series, arguing that such cross-cultural initiatives signal a multidirectional and inclusive reimagining of Hallyu that challenges its predominantly market-driven circulation patterns.

In 2015, China adopted “Made in China 2025” to upgrade its manufacturing sector and to engage firms in contributing to state priorities including economic growth and national security. Since 2015, the media and academics have noted that manufacturing firms of more strategic importance received more subsidies. However, firms manufacturing cutting-edge products do not necessarily mean that they are willing to meet the state’s political goals. This article argues that China grants more subsidies to manufacturing firms more connected to the party-state. Data on manufacturing firms listed in China supports the argument. Data also demonstrates that when manufacturing firms are more politically connected, the positive effects of subsidies on local manufacturing growth and on firm-level productivity tend to decrease. The symbiotic relationship between politically connected firms and the party-state may curb on the growth momentum, which contradicts one of the key goals of “Made in China 2025”: economic growth.