9781350414662 - bong joon ho: philosopher and filmmaker di adler, anthony curtis (27 risultati)
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Paperback. Condizione: new. Paperback. With the release of Parasite (2019), winner of the Palme dOr and an Academy Award for Best Picture, the South Korean director Bong Joon Ho secured his place as one of his generations leading filmmakers. While scholars and critics have long appreciated his penetrating critique of Korean soci…ety and global capitalism, this book presents the first cohesive philosophical analysis of his first seven feature-length films. It argues that Bongs cinema not only engages with philosophy, but is radically philosophical. Writing as an intimate outsider to Korea, a resident alien married into a Korean family, and teaching at Bongs own alma mater, Anthony Curtis Adler explores Bongs visionary and re-visionary treatment of spatiality, temporality, myth, memory, genre, and the semiotics of monstrosity.Adler argues that for Bong Joon Ho, cinema doubles the ambiguity of philosophy, presenting the aesthetic means to represent anarchic motions and movements. While it can capture and contain them, subordinating them to an overarching order, it can also free them to appear in their anarchy. From the humble apartment building of Barking Dogs Never Bite to the train in Snowpiercer and Parasites mansion, Bongs films stage interior spaces as representations of a cinematic apparatus that is, ambiguously, site of both imprisonment and liberation.Even while confronting globalism head-on, Bongs films never cease to engage with the specific challenges faced by modern Korea, and, above all, the struggle of the Korean people for political representation and economic justice. An original and lyrical reading of Bong Joon Hos films highlighting the philosophical underpinnings and critical implications of his work. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
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Paperback. Condizione: New. With the release of Parasite (2019), winner of the Palme d'Or and an Academy Award for Best Picture, the South Korean director Bong Joon Ho secured his place as one of his generation's leading filmmakers. While scholars and critics have long appreciated his penetrating critique of Korean society and g…lobal capitalism, this book presents the first cohesive philosophical analysis of his first seven feature-length films. It argues that Bong's cinema not only engages with philosophy, but is radically philosophical. Writing as an intimate outsider to Korea, a "resident alien" married into a Korean family, and teaching at Bong's own alma mater, Anthony Curtis Adler explores Bong's visionary and re-visionary treatment of spatiality, temporality, myth, memory, genre, and the semiotics of monstrosity.Adler argues that for Bong Joon Ho, cinema doubles the ambiguity of philosophy, presenting the aesthetic means to represent anarchic motions and movements. While it can capture and contain them, subordinating them to an overarching order, it can also free them to appear in their anarchy. From the humble apartment building of Barking Dogs Never Bite to the train in Snowpiercer and Parasite's mansion, Bong's films stage interior spaces as representations of a cinematic apparatus that is, ambiguously, site of both imprisonment and liberation.Even while confronting globalism head-on, Bong's films never cease to engage with the specific challenges faced by modern Korea, and, above all, the struggle of the Korean people for political representation and economic justice.
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Paperback. Condizione: New. With the release of Parasite (2019), winner of the Palme d'Or and an Academy Award for Best Picture, the South Korean director Bong Joon Ho secured his place as one of his generation's leading filmmakers. While scholars and critics have long appreciated his penetrating critique of Korean society and g…lobal capitalism, this book presents the first cohesive philosophical analysis of his first seven feature-length films. It argues that Bong's cinema not only engages with philosophy, but is radically philosophical. Writing as an intimate outsider to Korea, a "resident alien" married into a Korean family, and teaching at Bong's own alma mater, Anthony Curtis Adler explores Bong's visionary and re-visionary treatment of spatiality, temporality, myth, memory, genre, and the semiotics of monstrosity.Adler argues that for Bong Joon Ho, cinema doubles the ambiguity of philosophy, presenting the aesthetic means to represent anarchic motions and movements. While it can capture and contain them, subordinating them to an overarching order, it can also free them to appear in their anarchy. From the humble apartment building of Barking Dogs Never Bite to the train in Snowpiercer and Parasite's mansion, Bong's films stage interior spaces as representations of a cinematic apparatus that is, ambiguously, site of both imprisonment and liberation.Even while confronting globalism head-on, Bong's films never cease to engage with the specific challenges faced by modern Korea, and, above all, the struggle of the Korean people for political representation and economic justice.
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Paperback or Softback. Condizione: New. Bong Joon Ho: Philosopher and Filmmaker. Book.
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Paperback. Condizione: new. Paperback. With the release of Parasite (2019), winner of the Palme dOr and an Academy Award for Best Picture, the South Korean director Bong Joon Ho secured his place as one of his generations leading filmmakers. While scholars and critics have long appreciated his penetrating critique of Korean soci…ety and global capitalism, this book presents the first cohesive philosophical analysis of his first seven feature-length films. It argues that Bongs cinema not only engages with philosophy, but is radically philosophical. Writing as an intimate outsider to Korea, a resident alien married into a Korean family, and teaching at Bongs own alma mater, Anthony Curtis Adler explores Bongs visionary and re-visionary treatment of spatiality, temporality, myth, memory, genre, and the semiotics of monstrosity.Adler argues that for Bong Joon Ho, cinema doubles the ambiguity of philosophy, presenting the aesthetic means to represent anarchic motions and movements. While it can capture and contain them, subordinating them to an overarching order, it can also free them to appear in their anarchy. From the humble apartment building of Barking Dogs Never Bite to the train in Snowpiercer and Parasites mansion, Bongs films stage interior spaces as representations of a cinematic apparatus that is, ambiguously, site of both imprisonment and liberation.Even while confronting globalism head-on, Bongs films never cease to engage with the specific challenges faced by modern Korea, and, above all, the struggle of the Korean people for political representation and economic justice. An original and lyrical reading of Bong Joon Hos films highlighting the philosophical underpinnings and critical implications of his work. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
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Paperback. Condizione: new. Paperback. With the release of Parasite (2019), winner of the Palme dOr and an Academy Award for Best Picture, the South Korean director Bong Joon Ho secured his place as one of his generations leading filmmakers. While scholars and critics have long appreciated his penetrating critique of Korean soci…ety and global capitalism, this book presents the first cohesive philosophical analysis of his first seven feature-length films. It argues that Bongs cinema not only engages with philosophy, but is radically philosophical. Writing as an intimate outsider to Korea, a resident alien married into a Korean family, and teaching at Bongs own alma mater, Anthony Curtis Adler explores Bongs visionary and re-visionary treatment of spatiality, temporality, myth, memory, genre, and the semiotics of monstrosity.Adler argues that for Bong Joon Ho, cinema doubles the ambiguity of philosophy, presenting the aesthetic means to represent anarchic motions and movements. While it can capture and contain them, subordinating them to an overarching order, it can also free them to appear in their anarchy. From the humble apartment building of Barking Dogs Never Bite to the train in Snowpiercer and Parasites mansion, Bongs films stage interior spaces as representations of a cinematic apparatus that is, ambiguously, site of both imprisonment and liberation.Even while confronting globalism head-on, Bongs films never cease to engage with the specific challenges faced by modern Korea, and, above all, the struggle of the Korean people for political representation and economic justice. An original and lyrical reading of Bong Joon Hos films highlighting the philosophical underpinnings and critical implications of his work. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.
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Paperback. Condizione: New. With the release of Parasite (2019), winner of the Palme d'Or and an Academy Award for Best Picture, the South Korean director Bong Joon Ho secured his place as one of his generation's leading filmmakers. While scholars and critics have long appreciated his penetrating critique of Korean society and g…lobal capitalism, this book presents the first cohesive philosophical analysis of his first seven feature-length films. It argues that Bong's cinema not only engages with philosophy, but is radically philosophical. Writing as an intimate outsider to Korea, a "resident alien" married into a Korean family, and teaching at Bong's own alma mater, Anthony Curtis Adler explores Bong's visionary and re-visionary treatment of spatiality, temporality, myth, memory, genre, and the semiotics of monstrosity.Adler argues that for Bong Joon Ho, cinema doubles the ambiguity of philosophy, presenting the aesthetic means to represent anarchic motions and movements. While it can capture and contain them, subordinating them to an overarching order, it can also free them to appear in their anarchy. From the humble apartment building of Barking Dogs Never Bite to the train in Snowpiercer and Parasite's mansion, Bong's films stage interior spaces as representations of a cinematic apparatus that is, ambiguously, site of both imprisonment and liberation.Even while confronting globalism head-on, Bong's films never cease to engage with the specific challenges faced by modern Korea, and, above all, the struggle of the Korean people for political representation and economic justice.
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Taschenbuch. Condizione: Neu. Neuware - With the release of Parasite (2019), recipient of the Palme d'Or and an Academy Award for Best Picture, South Korean director, Bong Joon Ho, secured his place as one of his generation's leading filmmakers. Yet while scholars and critics have long appreciated his penetrating critique of Kor…ean society and global capitalism, his oeuvre has not been considered from a philosophical perspective. This book argues that his cinema is philosophical and in a radical and original rather than derivative sense.Anthony Curtis Adler explores Bong's assertion that Western philosophy is itself a 'cinematic apparatus.' He claims philosophy anticipates cinema's technical and expressive means and cinema in turn possesses an extraordinary capacity to criticize philosophy from within. Focusing on the interaction of three closely linked philosophical-cinematic apparatuses used by Bong (the projection of visionary spaces, self-domestication and human life itself as a drama), this book features close readings of his seven feature-length films.Drawing out the philosophical depth of a visionary auteur, Adler brings us on a journey into a unique cinematic world.
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Paperback. Condizione: New. With the release of Parasite (2019), winner of the Palme d'Or and an Academy Award for Best Picture, the South Korean director Bong Joon Ho secured his place as one of his generation's leading filmmakers. While scholars and critics have long appreciated his penetrating critique of Korean society and g…lobal capitalism, this book presents the first cohesive philosophical analysis of his first seven feature-length films. It argues that Bong's cinema not only engages with philosophy, but is radically philosophical. Writing as an intimate outsider to Korea, a "resident alien" married into a Korean family, and teaching at Bong's own alma mater, Anthony Curtis Adler explores Bong's visionary and re-visionary treatment of spatiality, temporality, myth, memory, genre, and the semiotics of monstrosity.Adler argues that for Bong Joon Ho, cinema doubles the ambiguity of philosophy, presenting the aesthetic means to represent anarchic motions and movements. While it can capture and contain them, subordinating them to an overarching order, it can also free them to appear in their anarchy. From the humble apartment building of Barking Dogs Never Bite to the train in Snowpiercer and Parasite's mansion, Bong's films stage interior spaces as representations of a cinematic apparatus that is, ambiguously, site of both imprisonment and liberation.Even while confronting globalism head-on, Bong's films never cease to engage with the specific challenges faced by modern Korea, and, above all, the struggle of the Korean people for political representation and economic justice.
