Bong Joon-ho Research Articles

가족 이데올로기에 대한 영화적 상상력의 의미와 교양교육 콘텐츠로서의 효용성 : 봉준호 영화를 중심으로

Bong Joon-ho"s films, through combing various genre, reveal the themes of social irrationality, tyranny of authority, economical inequality and conflict of class. These themes are materialized especially through critical understanding of ‘family’, the usual structure of a society, which is detailed in the plot where ‘patriarchy’ conspiring with capitalism imposes distortion of identity. Not just telling the usually told problems-the despotism of upper class of capitalism, Bong’s films show problems of capitalism in more diverse view to disclose selfishness of characters who cannot fight adequately the tyranny of privileged class and therefore, as for patriarch, uses patriarchal privilege to secure his or her status in ‘family’ or as for ‘family’ members, acquiesce the patriarchal privilege and to manifest the patriarchal ‘family’ members" distorted recognition of the world and the self.<BR> Particularly, incompetent government, unjust society enforce ‘family’ to pursue self-help solution. Unjust environment where law and justice cannot prevail adequately prevents characters who undergo the problems and deception of capitalism-combined ‘patriarchy’ from dreaming structural change and proceeding towards ‘struggle for recognition’. Experience of alienation and separation, which is the foundation of recognition of injustice and aspiration of change, only results in catastrophic anger-driven crimes. Bong’s two films, "A higher animal’ and ‘Parasite’, have common background of anger-driven crimes of patriarch. While a little extent of regret and possibility of restoration remain in ‘A higher animal’, ‘Parasite’ takes gloomy conclusion that main character"s ‘patriarchy’ is transmitted to and repeated by his son, so to more harshly criticize our society. Through irrational ‘ideological recognition’ and violent ‘struggle for recognition’ which are originated in ‘patriarchy’, Bong Joon-ho discloses two conflicting aspects of recognition as the apparatus of subjectivization as well as the apparatus of identity distortion and submissiveness, with use of delicate film skill.<BR> Bong"s films in which social problems are diagnosed through cinematic imagination, can be used widely as contents of various liberal arts. Utilizing Bong"s films as material for discussion class, debate class, writing class and so forth can induce the logical thinking ability to criticize traditional values and universal understandings as well as can bring about advance both in cognition and affect area. Also, Bong"s films can be used in liberal arts like sociology, women"s studies etc. as apparatus to see social problems from diverse standpoints or as texts to recollect the ultimate goal of gender equality.

Reinterpretation of Snowpiercer : Posthuman, Cyborg, and the New World

We aim to reinterpret Bong Joon-ho's Snowpiercer through theory of posthumanism. Posthuman is a compound word of 'post' and 'human', which means transcendent-man. However, we would like to extend the meaning of posthuman or cyborgs as not only to figure, or transcendent-man but as to human living in a digital age of converged technology. Through the extension of the meaning of posthuman, we would be able to not only find posthuman in Science Fiction movies but also apply it to our real world. Also, through the extended meaning, we will reinterpret all the elements from the film as cyberspace and as posthuman or cyborgs. Moreover, through examination of these “cyborg figures” in Bong Joon-ho's Snowpiercer (2013), we argue that the film is criticizing posthumanism in the reality that these days, people are losing the humanity due to the combination with the machine. It seems that he claims of the collapse of the current system, suggesting new generation as the solution.

The Perception of Modernity and Ethics of Coexistence in Bong Joon-ho's movies Barking Dogs Never Bite and Parasite

The Perception of Modernity and Ethics of Coexistence in Bong Joon-ho's movies Barking Dogs Never Bite and Parasite

THE PORTRAYAL OF HEGEMONY AS SEEN IN SNOWPIERCER

Snowpiercer is a sci-fi thriller movie directed by Bong Joon-ho. This movie presents the world’s survivors that live in a train creating their own economy and class system. The depiction of the movie is how power and ruling position could be achieved by conducting a process of moral and intellectual leadership rather than exercising full coercion. In Snowpiercer, Wilford as the dominant class attempts to gain power and authority to control the society through ideological indoctrination by the apparatuses. The study employs a sociological approach to literature to reveal the operation of hegemony in Snowpiercer. This study uses Antonio Gramsci’s concept of Hegemony as the main theory and Max Weber’s theory about power as supporting theory. In analyzing the data, this study uses a narrative and non-narrative approach. This study aims to describe hegemony through five stages of hegemony operation in Snowpiercer. Secondly, revealing the impact of hegemony on the subaltern class in Snowpiercer. Moreover, as the result shows that In Snowpiercer, hegemony is a process of gaining power through Indoctrinating ideology in which the role of coercive elements is necessary to maintain the power and authority obtained by the dominant class when the hegemony has weakened. This explains how hegemony conducted by Wilford lasts long and strong as it affects particular main aspects such as economic, military, education, culture, etc. Moreover, The dominant class's hegemony arises an impact on the subaltern class in the tail section, many people in the tail section get isolated, oppressed, and exploited.

Gender in "Korean Reality": Bong Joon-ho's Films and the Birth of "Snob Film"

Gender in "Korean Reality": Bong Joon-ho's Films and the Birth of "Snob Film"

REPRESENTATION OF SOCIAL CLASS IN FILM (Semiotic Analysis of Roland Barthes Film Parasite)

Social class differences have been formed long ago which can identify people's identities which are usually measured based on economic status. This class difference is depicted in Bong Joon-ho's Parasite film, telling of two families of different classes. The Kim family as a lower class and vice versa Mr. Park as the upper class. The core theme of the film Parasite is that of realistic drama about class domination which can also be seen around us. The paradigm used is critical interpretative, so researchers not only criticize but also make interpretations related to this Parasite film. In the analysis phase, this study uses Roland Barthes's semiotic analysis, which are signs in the form of words, images, sounds, movements and objects that are analyzed based on three things, namely parsing data based on the connotation, denotation and myths contained in the Parasite film scene. . Furthermore, representations produced through objects or images can produce meaning or processes that we understand or relate them to a meaning. Based on the first analysis of the film industry, Parasite Films are not included in the logic of most cultural industries but still succeed in penetrating the international market. Then, at the stage of representing social class markings in the film Parasite, it is found that there are at least five main points, namely: ease of life, fashion, boundaries, body odor, and color. Thus, the description of social class representation in the film Parasite is perfect both in its scenes, properties, and cinematography.

"Parásitos"

En la antigua Grecia, la palabra parasito se refería, originalmente, a los altos funcionarios encargados de verificar la cosecha del trigo. Ser parásito era un gran honor, porque a estos seres se les consideraba sagrados. Sin embargo, en algún momento, esta figura comenzó a tener mala fama y fue adoptada por los antiguos dramaturgos grecolatinos para describir personajes cómicos que viven a expensas de otros. Este trabajo analiza la figura del parásito como metáfora de la naturaleza humana en las obras de Plauto y Terencio, así como en la famosa película Parásitos de Bong Joon-ho. Se trata de una propuesta que también se apoya en los postulados de Thomas Hobbes, Jaques Derrida y Michel Serres, para quienes el hombre tiene una condición que encuentra ecos con la de los parásitos: la de los lobos.

비전문가 통역사례의 통역교육적 함의에 대한 고찰 - 샤론 최(Sharon Choi)의 통역사례를 중심으로 -

Sharon Choi became an instant celebrity in both Korea and beyond as the videos of her eloquent English interpreting for the Academy-winning Parasite’s director Bong Joon-Ho, went viral on social media. The study aims to explore the possibility and implication of using Sharon Choi’s interpreting case for education purpose, although she is a non-professional or a non-certified interpreter. Using the videos of Sharon Choi’s interpreting on social media, 53 graduate students majoring in interpretation and translation in Korea participated in survey, which was conducted to look into how students evaluated Sharon Choi’s interpreting at the beginning of semesters of 2020. The survey results show that Sharon Choi helped students to better understand the role of interpreter and interpreter competence for outstanding consecutive interpreting service, despite her limitation as a non-professional interpreter. The survey has also provided unique opportunity for discussion on the conditions for successful interpreting as well as competitive edge students should have as they launch and continue their training at an accredited graduate school to become professional interpreters and translators.

봉준호의 [기생충]에 나타나는 아메리칸 드림의 허상

This article explores the film Parasite from the perspective of the American dream. The film won four prizes at the Academy Awards as well as the Palme d'Or at the Cannes Film Festival. Bong Joon-ho became the first South Korean director to win Best Director at the Oscars. This film deals with class conflict, social inequality and wealth disparity through conflict between three families. In the neoliberal era, the issue is a social problem for which the whole world must find a solution. This theme captured the world’s attention. Another reason why this film was attractive to American film-makers was that it levels accusations about the reality of the American dream as seen in traditionally produced Hollywood films. This paper attempts to examine the film from the perspective of the visual language of the American dream and how the reality of the American dream is revealed through the conflicts between the three families in the movie.

Social Class in Modern Film Costumes -Focused on Bong Joon-Ho's &lt;Parasite&gt;-

Social Class in Modern Film Costumes -Focused on Bong Joon-Ho's &lt;Parasite&gt;-

봉준호의 〈기생충〉에 나타난 장르적 융합과 창의성

본 소고는 2019년 “칸 영화제 Cannes Film Festival” 황금종려상수상과 미국 “아카데미상 4개(작품상, 감독상, 각본상, 국제영화상)부분 수상한, 영화 〈기생충〉의 장르적 융합과 변용 그리고 창의성을 고찰하고자 하는 것이다. 왜냐하면 비영어권 영화가 칸과 미국의 아카데미상을 수상할 수 있는 이유를 살펴볼 의미있는 작업이기 때문이다.<BR> 그 결과 〈기생충〉은 먼저 가장 한국적이라고 할 수 있는 상황, 즉 반지하라는 이국적 공간을 통해 서구사회에서 친숙한 “빈부갈등”이라는 주제를 설정하고 있음을 알 수 있었다. 다음으로 전체적으로는 서스펜스적 스릴러인 〈기생충〉에 아리스토텔레스의 비극적 단초인 하마르티아와 봉준호식 유머를 섞어내어 국제적인 호응을 얻어낼 수 있었음을 알 수 있었다. 마지막으로 〈기생충〉은 도입부에 IPtime, 유튜브 등 시대적 공감 아이템을 사용하여 국제적인 동시성과 소통성을 확보한 영화임을 알게 되었다.<BR> 그러므로 봉준호의 〈기생충〉은 구로자와 아키라, 알프리트 히치콕 등의 거장의 스릴러적 장르방식을 따르면서도 장르적 융합과 변용, 즉 비극적 구성과 블랙코미디적 특성을 갖고 있다. 그리고 동시대 미디어적 아이템을 사용한 창의적인 영화이면서 2020년 한국사회의 모순적 단면을 넘어 글로벌적 보편성을 담고 있는 문제적 영화임을 알게 되었다. 아울러 이러한 문제의식과 장르적 요소의 결합으로 소위 봉준호식 장르를 만든 창의성을 볼 수 있다.

봉준호 영화에 나타난 공간과 로컬리티: &lt;살인의 추억&gt;, &lt;괴물&gt;, &lt;기생충&gt;을 중심으로

This study examines the main spaces and localities represented in films of Bong Joon Ho, who is regarded as world-master since he won best picture and best director at the Academy Awards for Parasite (2019). “Space” is a very important component in Bong’s films, and his films always have a unique and specific “locality.” Locality refers to regionality, which includes physical spatiality and particular temporality. In Bong’s films, the locality tends to focus on suburbs rather than centrals, and marginality rather than familiarity. This study aims to explore the impact of such local characteristics on Bong’s characters and themes. Focusing on the main spaces and localities, this study analyzes Memories of Murder (2003), The Host (2006), and Parasite: farmlands, Han river, semi-basement room and stairs for spaces, Hwasung in the 1980s, Seoul in the 2000s, and Metropolis in the 2010s for locality. It also interprets the relation between these elements and Bong’s subject matters, including the class issue. Furthermore, it explores how the most Korean local devices could get gain a great worldly universalities. The insights gained from the results of this research will help Korean films and other popular culture commodities find more effective ways to harmonize locality and universality and succeed in the world market in the future.

Cineando: The Master's House: Latin American Cinema's New Class-Warfare Genre

While Bong Joon-ho's Parasite is the most well-known recent example of the home-invasion thriller, Latin American cinema has produced a number of other films—many made before Bong's Oscar-winning film premiered at the 2019 Cannes Film Festival—using similar settings to create urgent stories about economic inequality. Emerging during a period of political and economic instability, these films present the luxury home as a stand in for an antiseptic capitalist order and a dulled bourgeois complacency, providing its occupants with a sense of safety and comfort that is as arbitrary as it is illusory. These films may focus on the rift between economic classes, but they are equally driven by a desire to unravel and dismantle the systems that put the working class at the mercy of moneyed homeowners. FQ columnist Manuel Betancourt examines these trends in relation to two recent films: Mexico's Mano de obra (Workforce, 2019, dir. David Zonana) and Argentina's Marea alta (High Tide, 2020, dir. Verónica Chen).

PARASITE as Parable

CrossCurrentsVolume 70, Issue 3 p. 248-262 Original Article PARASITE as Parable Bong Joon-Ho’s Cinematic Capitalism Minjung Noh, Corresponding Author Minjung Noh tuf64799@temple.edu Search for more papers by this author Minjung Noh, Corresponding Author Minjung Noh tuf64799@temple.edu Search for more papers by this author First published: 06 November 2020 https://doi.org/10.1111/cros.12435Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume70, Issue3September 2020Pages 248-262 RelatedInformation

유튜브 댓글 토픽모델링 분석을 통한 봉준호의 통역사 샤론 최(Sharon Choi)에 대한 수용자의 인식 연구

유튜브 댓글 토픽모델링 분석을 통한 봉준호의 통역사 샤론 최(Sharon Choi)에 대한 수용자의 인식 연구

A Study on the Spatiality of House in Bong Joon-ho Movie –Focused on , –

A Study on the Spatiality of House in Bong Joon-ho Movie –Focused on , –

Solidaridad, reciprocidad y violencia en el cine. Una lectura antropológica de Parásitos y El Hoyo. [DOI:10.37785/nw.v4n2.a1

Estando de acuerdo con García Canclini (1995) en cuanto a que el consumo sirve para pensar, no es menos cierto que el cine también. Y mucho más en tiempos como los actuales en los que una crisis sanitaria está asolando el planeta, a lo que va aparejada una crisis económica que algunos teorizan similar o incluso peor a la de 1929. Es por ello que pensamos que dos obras cinematográficas recientes se pueden colocar en el centro de una reflexión teórica, pero no solo para comprender de mejor manera el mundo de la economía sino para exponer una socioantropología económica en clave comparativa, a la vez que poder relacionarla con ciertas teorizaciones en torno a la filosofía política. Las obras a las que nos referimos son “El Hoyo” (Galder Gaztelu-Urrutia, 2020) y “Parásitos” (Bong Joon-Ho, 2019) y el armazón teórico desde el que discutiremos está formado por conceptualizaciones sociológicas y antropológicas de diversa procedencia. Lo que pretendemos mostrar es cómo ambas películas se enfocan en problemáticas clásicas de las ciencias sociales como son la alienación, la reciprocidad, la distinción, la informalidad, el intercambio o la cooperación, entre otros. Para ello, en primer lugar, haremos un breve resumen de los films para comprender sus puntos comunes y su importancia a la hora de relacionarlas con cierta lectura en clave política y económica. A continuación, exponemos epígrafes en torno a: 1) luchas de clases y distinción; 2) reciprocidad y moralidad. En la parte final argumentamos acerca de las fronteras de lo humano, colocando la violencia en el centro, concluyendo acerca de las diferentes líneas de fuga propuestas en los films para comprender la condición humana y la diversidad de las lógicas capitalistas en las acciones de sus protagonistas.&#x0D; Estando de acuerdo con García Canclini (1995) en cuanto a que el consumo sirve para pensar, no es menos cierto que el cine también. Y mucho más en tiempos como los actuales en los que una crisis sanitaria está asolando el planeta, a lo que va aparejada una crisis económica que algunos teorizan similar o incluso peor a la de 1929. Es por ello que pensamos que dos obras cinematográficas recientes se pueden colocar en el centro de una reflexión teórica, pero no solo para comprender de mejor manera el mundo de la economía sino para exponer una socioantropología económica en clave comparativa, a la vez que poder relacionarla con ciertas teorizaciones en torno a la filosofía política. Las obras a las que nos referimos son “El Hoyo” (Galder Gaztelu-Urrutia, 2020) y “Parásitos” (Bong Joon-Ho, 2019) y el armazón teórico desde el que discutiremos está formado por conceptualizaciones sociológicas y antropológicas de diversa procedencia. Lo que pretendemos mostrar es cómo ambas películas se enfocan en problemáticas clásicas de las ciencias sociales como son la alienación, la reciprocidad, la distinción, la informalidad, el intercambio o la cooperación, entre otros. Para ello, en primer lugar, haremos un breve resumen de los films para comprender sus puntos comunes y su importancia a la hora de relacionarlas con cierta lectura en clave política y económica. A continuación, exponemos epígrafes en torno a: 1) luchas de clases y distinción; 2) reciprocidad y moralidad. En la parte final argumentamos acerca de las fronteras de lo humano, colocando la violencia en el centro, concluyendo acerca de las diferentes líneas de fuga propuestas en los films para comprender la condición humana y la diversidad de las lógicas capitalistas en las acciones de sus protagonistas.

Giving death: the hero as sovereign utility in Bong Joon-ho’s Snowpiercer (2013)

ABSTRACT This paper considers the theme of sacrificial heroism in the South Korean director Bong Joon-ho’s film Snowpiercer (2013). In order to become the hero, the film’s main character, Curtis, must risk his life and embrace death. While a hero’s death can solidify heroic status, a lack of death reveals a more complicated formula in which the hero must prove his worth by performing a sacrifice deemed equivalent in value to that heroic end. In other words, to maintain heroic sovereignty, the hero is required to not only give, but also receive. Revealing this process of valuation and exchange in the hero-making process, the film calls attention to the existence of utility and violence inherent within the act of sacrifice itself. Referencing South Korea’s own historical and social experiences with duty, redemption, and sacrifice, the paper problematizes such predeterminations of the hero’s sacrificial morality by re-considering its capacity to not only manipulate, but also become manipulated by its intrinsically utilitarian function.

‘봉준호 장르’의 가능성: 〈기생충〉의 크로노토프 서사전략

‘봉준호 장르’의 가능성: 〈기생충〉의 크로노토프 서사전략

Greed in the Film "Parasite"

Penelitian ini mengupas tentang pesan moral yang berhubungan dengan ketamakan dalam film Parasite. Karya seni berbahasa Korea Selatan ini dipilih karena merupakan film terbaik di dunia versi Academy Awards atau Oscar 2020. Pada 2019 lalu, garapan Bong Joon-Ho ini meraih Palme d’Or dalam Festival Film Cannes ke-72. Sekaligus mendapat apresiasi berupa delapan menit standing ovation dari hadirin. Pada Januari 2020, karya yang berjudul asli Gisaengchung ini memenangkan Best Foreign Language Film di Golden Globe Awards dan Cast in a Motion Picture di Screen Actors Guild Award. Tak hanya itu, rekam jejak film ini menjadi lebih menarik karena meraih Best Film Not in the English Language dalam British Academy of Film and Television Arts 2020, beserta sederet penghargaan di ajang internasional lainnya. Sejumlah artikel membahas tentang aspek kesenjangan sosial yang ditunjukkan di film ini. Padahal, sebagai sebuah karya seni, pesan moral dalam sebuah produk sinematik bisa beragam dan dapat ditelaah dari beragam sudut pandang. Riset ini bersandar pada teori representasi yang merujuk pada konsep tamak dalam perspektif Islam dan Kristen, seperti tertera pada tafsir di kitab suci Al-Qur’an dan Injil. Metode yang digunakan adalah kualitatif dengan pendekatan analisis visual pada lingkup the site of image itself. Hasil dari penelitian ini, ketamakan tergambar pada sikap dari satu keluarga miskin yang memiliki peran utama dalam film Parasite.