Anthony Curtis Adler is a Professor of German and Comparative Literature at Yonsei University's Underwood International College, South Korea. His most recent books include Celebricities: Media Culture and the Phenomenology of Gadget Commodity Life (2016), and Politics and Truth in Hölderlin: 'Hyperion' and the Choreographic Project of Modernity (2021).
Inhaltsangabe
1. Introduction a. Why Bong Joon Ho? b. Korean Cinema in an Age of Globalization c. Bong Joon Ho as Philosophical Filmmaker d. Overview of the Argument e. A Personal Note on Hybrid Subjectivity 2. The Cinematic Apparatus of Philosophy a. Cinema as Projection of Movement and Life b. Plato's Visionary Spaces c. Aristotle's Poetics and the Drama of Meaning d. Psyche as Cinema e. Scientific Objectivity as Cinematic Apparatus 3. Barking Dogs Never Bite a. The Korean Apartment Complex as Visionary Space b. Dog as Food, Friend, Foe: Civilization and Domestication c. Endemic Corruption d. Ambiguous Liberation e. Nature and Sprawl 4. Memories of Murder, Mother a. Cinematic Genre as Visionary Space b. The Korean Countryside and the Logic of Sprawl c. Memories of Murder, Cinematic Voyeurism and the Domestication of Violence d. Mother and Murder: On Breaking the Umbilical Cord e. The Tunnel and the Camera Lens 5. The Host, Okja a. Philosophy, Cinema, and the Global Imaginary b. The Host, Mutation as Genetic Sprawl c. Okja, Genetic Engineering as Absolute Domestication d. From Tunnels to Networks e. Visionary Capitalism 6. Snowpiercer a. Tunnel, Network, Train b. Absolute Global Order as the Apotheosis of Visionary Capitalism c. The Subversion of Plot d. Civilization as Autophagy e. Political-theology: The Hero, The Messiah, The Emperor 7. Parasite a. Globalism Inside Out and Outside In b. The House as Visionary Space c. Civilization and its Parasites d. Oedipus, Complexer e. Scholar's Dreams 8. Conclusion: Crashing the Cinematic Apparatus of Philosophy
1. Introduction a. Why Bong Joon Ho? b. Korean Cinema in an Age of Globalization c. Bong Joon Ho as Philosophical Filmmaker d. Overview of the Argument e. A Personal Note on Hybrid Subjectivity 2. The Cinematic Apparatus of Philosophy a. Cinema as Projection of Movement and Life b. Plato's Visionary Spaces c. Aristotle's Poetics and the Drama of Meaning d. Psyche as Cinema e. Scientific Objectivity as Cinematic Apparatus 3. Barking Dogs Never Bite a. The Korean Apartment Complex as Visionary Space b. Dog as Food, Friend, Foe: Civilization and Domestication c. Endemic Corruption d. Ambiguous Liberation e. Nature and Sprawl 4. Memories of Murder, Mother a. Cinematic Genre as Visionary Space b. The Korean Countryside and the Logic of Sprawl c. Memories of Murder, Cinematic Voyeurism and the Domestication of Violence d. Mother and Murder: On Breaking the Umbilical Cord e. The Tunnel and the Camera Lens 5. The Host, Okja a. Philosophy, Cinema, and the Global Imaginary b. The Host, Mutation as Genetic Sprawl c. Okja, Genetic Engineering as Absolute Domestication d. From Tunnels to Networks e. Visionary Capitalism 6. Snowpiercer a. Tunnel, Network, Train b. Absolute Global Order as the Apotheosis of Visionary Capitalism c. The Subversion of Plot d. Civilization as Autophagy e. Political-theology: The Hero, The Messiah, The Emperor 7. Parasite a. Globalism Inside Out and Outside In b. The House as Visionary Space c. Civilization and its Parasites d. Oedipus, Complexer e. Scholar's Dreams 8. Conclusion: Crashing the Cinematic Apparatus of Philosophy
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