Lines Left to Cross: Deglobalization and the Domestic Western in Bong Joon-ho's Parasite.
This article situates Bong Joon-ho's Parasite (2019) within the historical logics of the Washington Consensus. In this broad context, we might think of the film's much-heralded class critique as not quite so domestically contained as may initially appear in a film staged primarily in the confines of...
| Published in: | Critical Inquiry Vol. 49; no. 4; pp. 557 - 581 |
|---|---|
| Main Author: | |
| Format: | Article |
| Published: |
University of Chicago Press
Summer2023
|
| Subjects: | |
| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=164228124&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 164228124 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00931896 CRI jtl: Critical Inquiry issn: 00931896 maglogo: N pubinfo: dt: Summer2023 vid: 49 iid: 4 pid: 415 pub: University of Chicago Press artinfo: ui: 164228124 10.1086/724983 ppf: 557 ppct: 24 formats: tig: atl: Lines Left to Cross: Deglobalization and the Domestic Western in Bong Joon-ho's Parasite. aug: au: Jeon, Joseph Jonghyun su: Parasite (Film : 2019) Bong, Joon-ho, 1969- International trade disputes Stagnation (Economics) Equality sug: subj: Parasite (Film : 2019) Bong, Joon-ho, 1969- International trade disputes Stagnation (Economics) Equality ab: This article situates Bong Joon-ho's Parasite (2019) within the historical logics of the Washington Consensus. In this broad context, we might think of the film's much-heralded class critique as not quite so domestically contained as may initially appear in a film staged primarily in the confines of a single household. Instead, it opens onto a global political economic framework, which it explores through a nested structure in which class dynamics are also mobilized to explore cold-war and trade-war logics, both of which are revealed to be radically interconnected with domestic concerns. Parasite reveals then the inherent dissensus in the Washington Consensus, a dissensus that was always latent but eventually became more explicit. We might say more generally that stories of class difference take on a pointedly different tenor during periods of stagnation; the specific anxiety in Parasite then is not just over the moral fact of social inequality but also specifically about the material distribution of wealth in the face of diminishing resources. The fact of brutal competition emerges from a milieu that seems ostensibly defined by plentitude. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
|---|