Joseph Jonghyun Jeon
Dados Biográficos
| ID | 4194727 |
|---|---|
| NOME | Joseph Jonghyun Jeon |
| PRENOMES | Joseph Jonghyun |
| SOBRENOME | Jeon |
| ASSINATURA | JEON J J |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 5 |
| TOTAL DE CITAÇÕES | 6 |
| TOTAL COMO AUTOR | 5 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2009 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2023 |
| ÍNDICE H | 1 |
Lines Left to Cross
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 dynamic…
Breakfast at Kuniyoshi’s
This article examines a number of visual and verbal texts that gather around Capote’s 1958 novella Breakfast at Tiffany’s, including the paintings of Yasuo Kuniyoshi, the painter on whom Capote’s I. Y. Yunioshi and Mickey Rooney’s infamous yellowface caricature were based. The article focuses particularly on the way in which photography—both aesthetically and historically—can be read in racial terms, particularly in light of the underappreciated …
Vicious Circuits
Examining what it terms "Korea's IMF Cinema," the decade of film-making that following that country's worst-ever economic crisis, this book thinks through the transformations of global political economy attending the end of the American century
Neoliberal Forms
This paper examines the co-implications of CGI filmmaking, US hegemony, and neoliberal financialization as manifested in Korea's "IMF crisis cinema." These films are populated by what I term neoliberal forms that epitomize the effort in this cinema to reflect on the innate proximity of popular filmmaking to finance, and specifically on the proximity between its own material apparatus and the economic apparatus that the IMF crisis inserted into th…
Residual Selves
This article situates Park Chan-wook's Oldboy (2003) in the wake of the International Monetary Fund (IMF) crisis in South Korea and argues that the film's particular emphasis on forgetting signals a turn away both from traditional, Freudian theorizations of trauma and from the deployment of these models as a primary means of conceptualizing modern Korean history. The article reads the film's protagonist, O Dae-su, as an embodiment of the anxietie…
Vicious Circuits
Examining what it terms "Korea's IMF Cinema," the decade of film-making that following that country's worst-ever economic crisis, this book thinks through the transformations of global political economy attending the end of the American century
Breakfast at Kuniyoshi’s
This article examines a number of visual and verbal texts that gather around Capote’s 1958 novella Breakfast at Tiffany’s, including the paintings of Yasuo Kuniyoshi, the painter on whom Capote’s I. Y. Yunioshi and Mickey Rooney’s infamous yellowface caricature were based. The article focuses particularly on the way in which photography—both aesthetically and historically—can be read in racial terms, particularly in light of the underappreciated …
Neoliberal Forms
This paper examines the co-implications of CGI filmmaking, US hegemony, and neoliberal financialization as manifested in Korea's "IMF crisis cinema." These films are populated by what I term neoliberal forms that epitomize the effort in this cinema to reflect on the innate proximity of popular filmmaking to finance, and specifically on the proximity between its own material apparatus and the economic apparatus that the IMF crisis inserted into th…
Residual Selves
This article situates Park Chan-wook's Oldboy (2003) in the wake of the International Monetary Fund (IMF) crisis in South Korea and argues that the film's particular emphasis on forgetting signals a turn away both from traditional, Freudian theorizations of trauma and from the deployment of these models as a primary means of conceptualizing modern Korean history. The article reads the film's protagonist, O Dae-su, as an embodiment of the anxietie…
Residual Selves
This article situates Park Chan-wook's Oldboy (2003) in the wake of the International Monetary Fund (IMF) crisis in South Korea and argues that the film's particular emphasis on forgetting signals a turn away both from traditional, Freudian theorizations of trauma and from the deployment of these models as a primary means of conceptualizing modern Korean history. The article reads the film's protagonist, O Dae-su, as an embodiment of the anxietie…
Neoliberal Forms
This paper examines the co-implications of CGI filmmaking, US hegemony, and neoliberal financialization as manifested in Korea's "IMF crisis cinema." These films are populated by what I term neoliberal forms that epitomize the effort in this cinema to reflect on the innate proximity of popular filmmaking to finance, and specifically on the proximity between its own material apparatus and the economic apparatus that the IMF crisis inserted into th…
Breakfast at Kuniyoshi’s
This article examines a number of visual and verbal texts that gather around Capote’s 1958 novella Breakfast at Tiffany’s, including the paintings of Yasuo Kuniyoshi, the painter on whom Capote’s I. Y. Yunioshi and Mickey Rooney’s infamous yellowface caricature were based. The article focuses particularly on the way in which photography—both aesthetically and historically—can be read in racial terms, particularly in light of the underappreciated …
Vicious Circuits
Examining what it terms "Korea's IMF Cinema," the decade of film-making that following that country's worst-ever economic crisis, this book thinks through the transformations of global political economy attending the end of the American century
Lines Left to Cross
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 dynamic…
Political science (5 obras) · Asian Culture and Media Studies (4 obras) · History (4 obras) · History (4 obras) · Law (4 obras) · Politics (4 obras) · Art (3 obras) · Japanese History and Culture (3 obras) · Law (3 obras) · Political economy (3 obras)