The introduction lays out the book’s theoretical approaches to the photographic medium and sets a framework for exploring postwar Korean photography in and of Korea and the Korean diaspora. The chapter focuses on the issues of temporality in producing the history of non-Western (in this case, Korean) photography—namely, the epistemological double-bind of seeking legitimacy by aligning with the homogenizing temporality of the Eurocentric and American-centric history of photography even as the subject’s difference is held up as its fundamental value in the study area. Accordingly, the chapter rethinks the desire to seek authentically Korean methodologies for studies of Korean photography through the binary of national adherence and antagonization. The introduction challenges both epistemic frames by exploring the temporality, performativity, and sensoriality of post–Korean War photography.