In 1970s, Korean film industry was divided into different activities of national policy films, Image Era, Small Film Club and experimental filmmaking groups. Korea Small Film Club, whose identity lies on as pretesting films against Chungmu-ro,was the matrix of Image Era and Khai Du Club. While Image Era led a reform movement of Korean movies through popular movies in Chungmu-ro, Khai Du club did so on Korean experimental movies outside Chugmu-ro. Khai Du Club touched off a radical movement in the form of experimental movies, which was a feminine challenge in the masculinity and popular movie dominating Chungmu-ro. Khai Du blud participated in the youth culture in 1970s with their films. To be the leader of youth-culture film movement, Khai Du Club banded together with Yu Hyun-mok who was leading Small Film Club, and members of Image Era. Their moves had an influence in Korean movie history in a way that they vitalized Korean movie industry, which was shrunk under the censorship, and formed a source towards the film movement in 1980s and Korean New-wave in 1990s. The aspect of cinematic view of Khai Du Club can be appreciated through the pieces of director Han, Ok-hee, the leading director of Khai Du Club. Surrealism had some influence on the cinematic world of Han, Ok-hee, which came from her personal interest and acceptance of literature expanding to Cine Poeme. Moreover, it’s been understood that Lee Ik-tae‘s piece and Ha, Gil-jong’s <The Ritual for a Soldier> released in a special show of Imaging Study Group put a certain stimulation and influence on Korean experimental films in 1970s and Khai Du Club. Han, Ok-hee’s experimental films feature the dutch angle, in which images make up a story, montage, where images and sounds collide with one another,or repetitive uses of slow and fast motions. One of her renowned pieces called <The Hole> uses the flicker, oblique angle, the cross cutting of reality and fantasy to express trapped human inner side and the desire for liberation. Han,Ok-hee’s <The Hole>, <The Rope> and <Untitled> played a role as an expansion of the form of expression in experimental films and the artistic protest against the social suppression and censorship in Korea in 1970s. On the other hand, <The Overlap> focuses more on an aesthetic experiment than on political issues, through animation techniques using visual images and frame shooting. Han, Ok-hee has expanded and fructified Korean experimental films while covering the aesthetic vanguard and the political one.