Biopolitical ethics in global cinema:
Biopolitical Ethics in Global Cinema takes a new approach to world cinema through critical theory. Whereas world cinema often refers to non-American films deemed artistic or peripheral, Seung-hoon Jong examines its mapping frames: the territorial 'national frame,' the deterritorializing &#...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Oxford University Press
[2023]
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| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Biopolitical Ethics in Global Cinema takes a new approach to world cinema through critical theory. Whereas world cinema often refers to non-American films deemed artistic or peripheral, Seung-hoon Jong examines its mapping frames: the territorial 'national frame,' the deterritorializing 'transnational frame,' and the 'global frame.' If world cinema studies have mostly displayed national cinemas and their transnational mutations, his global frame highlights two conflicting ethical facets of globalization: the 'soft-ethical' inclusion of differences in multicultural, neoliberal systems and their 'hard-ethical' symptoms of fundamentalist exclusion and terror. Reflecting both and suggesting their alternatives, global cinema draws attention to new changes in subjectivity and community that Jeong investigates in terms of biopolitical 'abjection' and ethical 'agency.'In this frame, the book explores a vast net of post-1990 films circulating in both the mainstream market and the festival circuit. Jeong comparatively navigates these films, highlighting less essentialist particularities than compatible localities that perform universal aspects of biopolitical ethics and its alternatives by centering the narrative of 'double death': the abject as symbolically dead struggle for lost subjectivity or new agency until physically dying. This narrative pervades global cinema from Hollywood blockbusters and European art films to Middle Eastern dramas and Asian genre films. Ultimately, the book renews critical discourses on global issuesDLincluding multiculturalism, catastrophe, sovereignty, abjection, violence, network, nihilism, and atopiaDLthrough a core cluster of political, ethical, and psychoanalytic philosophies |
| Beschreibung: | xx, 323 Seiten Illustrationen 10 grams |
| ISBN: | 9780190093792 9780190093785 |
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| 520 | |a Biopolitical Ethics in Global Cinema takes a new approach to world cinema through critical theory. Whereas world cinema often refers to non-American films deemed artistic or peripheral, Seung-hoon Jong examines its mapping frames: the territorial 'national frame,' the deterritorializing 'transnational frame,' and the 'global frame.' If world cinema studies have mostly displayed national cinemas and their transnational mutations, his global frame highlights two conflicting ethical facets of globalization: the 'soft-ethical' inclusion of differences in multicultural, neoliberal systems and their 'hard-ethical' symptoms of fundamentalist exclusion and terror. Reflecting both and suggesting their alternatives, global cinema draws attention to new changes in subjectivity and community that Jeong investigates in terms of biopolitical 'abjection' and ethical 'agency.'In this frame, the book explores a vast net of post-1990 films circulating in both the mainstream market and the festival circuit. Jeong comparatively navigates these films, highlighting less essentialist particularities than compatible localities that perform universal aspects of biopolitical ethics and its alternatives by centering the narrative of 'double death': the abject as symbolically dead struggle for lost subjectivity or new agency until physically dying. This narrative pervades global cinema from Hollywood blockbusters and European art films to Middle Eastern dramas and Asian genre films. Ultimately, the book renews critical discourses on global issuesDLincluding multiculturalism, catastrophe, sovereignty, abjection, violence, network, nihilism, and atopiaDLthrough a core cluster of political, ethical, and psychoanalytic philosophies | ||
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Contents Preface Ackno wledgments Introduction: World Cinema in a Global Frame The World as Global A Microhistory of Globalization with the Ethical Turn of Politics Subjectivity and Community in Crisis Mapping Frames of World Cinema A Matrix of Global Cinema xi xvi i 1 1 4 8 12 18 PARTI: ABJECTION AND AGENCY 1. Multicultural Conflicts in Postpolitical Double Ethics The Historic Falls and the Motif of‘Falling’ Multiculturalism from Multiple Angles “Hate, a Last Sign of Life” Theory of Abjection Reloaded with Agency Paris and Banlieues in Post-La haine Mainstream French Cinema Auteurist Responses to the Ethical Potential and Limitations of Abjection 2. The Narrative of Double Death with Abject Agency Narratology and Ideology: Double Death and Abject Agency Two East Asian Transnational Networks in Korean Cinema The North-West Network: The ‘Dog’ and ‘Thief’ of Capital The South-East Network: Cognitive, Financial, and Emotional Capitalism 3. Sovereign Agents’ Biopolitical Abjection in the Spy Film Biopolitical Abjection: Bare Life and Sovereign Power The Bond Series: From the Cold War to the Global Millennium Skyfall: The Self-Reaffirmation of the ‘Dark Knight’ Abject Agency from Bond to Bourne 25 25 29 35 38 44 49 58 58 61 64 72 79 79 81 86 93
viii contents PART II: CATASTROPHE AND REVELATION 4. Law, Divine Violence, and the Sanctity of Life 101 Violence as Power: Benjamin, Derrida, and Batman Divine Violence for the Sanctity of Life Divine Violence without God: Zizek and The Act of Killing (Pseudo-)Divine Violence and Waltz with Bashir 101 109 113 120 5. From the Disaster Genre to the Cinema of Catastrophe 124 Global Catastrophes, Enforced Cosmopolitanism, and Cinematic Reflections Theorizing Disaster, Catastrophe, and the Sublime The Evolution of the Disaster Genre and the Cinema of Catastrophe 6. Human History in (Post)Apocalyptic Cinema Apocalypse between Revelation and Repetition Snowpiercer: A Global Allegory of Biopolitical Economy and Ecology Snowpiercer. Catastrophe as Breakthrough or Dead End The Mad Max Series: A Postapocalyptic ‘Fury Road’ of Historical Déjà Vu Preapocalyptic Yet Already Catastrophic 7. The Time Loop of Catastrophe in the Mind-Game Film Mind-Game Time Travel and Retroactive Causality Donnie Darko: An Indeterminate Text on Free Will Donnie Darko: “Time Is out of Joint” and Postapocalypse Source Code: Sci-Fi Mind Game and Video Game in Control Society Source Code: Time Travel, Performative Agency, and the Sacrifice of Sacrifice The Ideology of‘Undoing’ in the Perpetual Present of Action 124 130 135 142 142 144 150 157 162 165 165 168 173 176 183 187 PART III: COMMUNITY AND NETWORK 8. Narrative Formations of Community and Network 193 Global Society: Community or Network? Mapping Network Narratives; Global Community as a Totalized Network Theorizing Community and Global Network Narratives
Pure Network Narratives with Free-Floating Agents Theorizing Network and the Shift from Community to Network 193 195 200 205 209 9. Nation, Transnationality, and Global Community as Totalized Network 214 Community and Network in the National, Transnational, and Global Frames Islamic World: Timbuktu, Taste of Cherry, Life and Nothing More. 214 216
CONTENTS India’s Nationalist Cinema and Beyond: Roja, Rang de Basanti, Slumdog Millionaire Pan-Chinese Global Cinema: Crouching Tiger, Hidden Dragon, Chungking Express, A Touch of Sin IX 225 231 PART IV: GIFT AND ATOPIA 10. Alternative Ethics through the Paradox of the Gift Positive Modes of Abject Agency: Artistic Creativity and Ethical Gift-Giving Dogville: Being as a Gift beyond Gift Economy and Biopolitical Ethics Gran Torino: A Global Aporia of the Gift and the Birth of a (Multicultural) Nation Life of Pi: The Ontological Other as a Precarious Yet Precious Gift 11. The Abject as Neighbor beyond Cultural Mediation Ethical Philosophy on Abraham and Isaac The Promise: Walking Side by Side with the Abject Neighbor The Edge ofHeaven: Relaying Gift-Giving in Zigzag as Atopian Ethics 12. Atopian Networking and Positive Nihilism Negative, Passive, and Active Nihilism in the Global Frame Children ofMen: Atopian Networking in Global Dystopian Cinema Himizu: Existential Amor Fati in Positive Nihilism Cinema as an Ethical Art References Index 245 245 251 256 263 269 269 273 279 286 286 289 294 299 303 317 |
| adam_txt |
Contents Preface Ackno wledgments Introduction: World Cinema in a Global Frame The World as Global A Microhistory of Globalization with the Ethical Turn of Politics Subjectivity and Community in Crisis Mapping Frames of World Cinema A Matrix of Global Cinema xi xvi i 1 1 4 8 12 18 PARTI: ABJECTION AND AGENCY 1. Multicultural Conflicts in Postpolitical Double Ethics The Historic Falls and the Motif of‘Falling’ Multiculturalism from Multiple Angles “Hate, a Last Sign of Life” Theory of Abjection Reloaded with Agency Paris and Banlieues in Post-La haine Mainstream French Cinema Auteurist Responses to the Ethical Potential and Limitations of Abjection 2. The Narrative of Double Death with Abject Agency Narratology and Ideology: Double Death and Abject Agency Two East Asian Transnational Networks in Korean Cinema The North-West Network: The ‘Dog’ and ‘Thief’ of Capital The South-East Network: Cognitive, Financial, and Emotional Capitalism 3. Sovereign Agents’ Biopolitical Abjection in the Spy Film Biopolitical Abjection: Bare Life and Sovereign Power The Bond Series: From the Cold War to the Global Millennium Skyfall: The Self-Reaffirmation of the ‘Dark Knight’ Abject Agency from Bond to Bourne 25 25 29 35 38 44 49 58 58 61 64 72 79 79 81 86 93
viii contents PART II: CATASTROPHE AND REVELATION 4. Law, Divine Violence, and the Sanctity of Life 101 Violence as Power: Benjamin, Derrida, and Batman Divine Violence for the Sanctity of Life Divine Violence without God: Zizek and The Act of Killing (Pseudo-)Divine Violence and Waltz with Bashir 101 109 113 120 5. From the Disaster Genre to the Cinema of Catastrophe 124 Global Catastrophes, Enforced Cosmopolitanism, and Cinematic Reflections Theorizing Disaster, Catastrophe, and the Sublime The Evolution of the Disaster Genre and the Cinema of Catastrophe 6. Human History in (Post)Apocalyptic Cinema Apocalypse between Revelation and Repetition Snowpiercer: A Global Allegory of Biopolitical Economy and Ecology Snowpiercer. Catastrophe as Breakthrough or Dead End The Mad Max Series: A Postapocalyptic ‘Fury Road’ of Historical Déjà Vu Preapocalyptic Yet Already Catastrophic 7. The Time Loop of Catastrophe in the Mind-Game Film Mind-Game Time Travel and Retroactive Causality Donnie Darko: An Indeterminate Text on Free Will Donnie Darko: “Time Is out of Joint” and Postapocalypse Source Code: Sci-Fi Mind Game and Video Game in Control Society Source Code: Time Travel, Performative Agency, and the Sacrifice of Sacrifice The Ideology of‘Undoing’ in the Perpetual Present of Action 124 130 135 142 142 144 150 157 162 165 165 168 173 176 183 187 PART III: COMMUNITY AND NETWORK 8. Narrative Formations of Community and Network 193 Global Society: Community or Network? Mapping Network Narratives; Global Community as a Totalized Network Theorizing Community and Global Network Narratives
Pure Network Narratives with Free-Floating Agents Theorizing Network and the Shift from Community to Network 193 195 200 205 209 9. Nation, Transnationality, and Global Community as Totalized Network 214 Community and Network in the National, Transnational, and Global Frames Islamic World: Timbuktu, Taste of Cherry, Life and Nothing More. 214 216
CONTENTS India’s Nationalist Cinema and Beyond: Roja, Rang de Basanti, Slumdog Millionaire Pan-Chinese Global Cinema: Crouching Tiger, Hidden Dragon, Chungking Express, A Touch of Sin IX 225 231 PART IV: GIFT AND ATOPIA 10. Alternative Ethics through the Paradox of the Gift Positive Modes of Abject Agency: Artistic Creativity and Ethical Gift-Giving Dogville: Being as a Gift beyond Gift Economy and Biopolitical Ethics Gran Torino: A Global Aporia of the Gift and the Birth of a (Multicultural) Nation Life of Pi: The Ontological Other as a Precarious Yet Precious Gift 11. The Abject as Neighbor beyond Cultural Mediation Ethical Philosophy on Abraham and Isaac The Promise: Walking Side by Side with the Abject Neighbor The Edge ofHeaven: Relaying Gift-Giving in Zigzag as Atopian Ethics 12. Atopian Networking and Positive Nihilism Negative, Passive, and Active Nihilism in the Global Frame Children ofMen: Atopian Networking in Global Dystopian Cinema Himizu: Existential Amor Fati in Positive Nihilism Cinema as an Ethical Art References Index 245 245 251 256 263 269 269 273 279 286 286 289 294 299 303 317 |
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