Tuesday, March 29, 2022

Bong Joon-Ho (Ongoing Archive)

 



Barking Dogs Never Bite (2000)

Memories of Murder (2003)

The Host (2006)

Mother (2009)

Snowpiercer (2013)

Okja (2017)

Parasite (2019)

Parasite (South Korea: Bong Joon-ho, 2019)

 





A zeitgeist-defining sensation that distilled a global reckoning over class inequality into a tour de force of pop-cinema subversion, Bong Joon Ho’s genre-scrambling black-comic thriller confirms his status as one of the world’s foremost filmmakers. Two families in Seoul—one barely scraping by in a dank semibasement in a low-lying neighborhood, the other living in luxury in a modern architectural marvel overlooking the city—become entwined in a dangerous relationship that will lay bare the dark contradictions of capitalism with shocking ferocity. A bravura showcase for its director’s meticulously constructed set pieces, bolstered by a brilliant ensemble cast and stunning production design, Parasite cemented the New Korean Cinema as an undeniable international force when it swept almost every major prize from Cannes to the Academy Awards, where it made history as the first non-English-language film to win best picture. -- Criterion


Parasite (South Korea: Bong Joon-ho, 2019: 132 mins)

Bradley, S.A. "Again, Volatile Substance: Caligari Goes to the Oscars." Hellbent for Horror #93 (April 26, 2020) [Bradley makes a case for three Best Picture nominees as horror films: Joker (Todd Phillips), 1917 (Sam Mendes), and Parasite (Bong Joon-Ho).]

Cook, Adam. "Parasite (Bong Joon Ho, South Korea)." Cinema Scope #79 (2019)
Hudson, David. "Bong Joon-ho's Parasite." The Current (May 23, 2019)

---. "Weighing Parasite's Wins." The Current (February 11, 2020)

Juhyundred. "Reading Colonialism in Parasite." Tropics of Meta (February 17, 2020)

Kang, Inkoo. "Parasite: Notes from the Underground." Current (October 30, 2020)

 Koresky, Michael, Nicholas Rapold and Amy Taubin. "Bong Joon-Ho's Parasite." Film Comment Podcast (October 26, 2019) ["At Film Comment, we love it when we get behind a movie and then see other movie-goers share the love. Parasite, the funny and fierce thriller from Bong Joon Ho, was on the cover of our September-October issue, but wasn’t released in theaters until mid-October. But what a release! Audiences are packing the theaters. To talk about the movie’s appeal and Bong’s masterful filmmaking, FC Editor-in-Chief Nicolas Rapold sat down with contributing editor Amy Taubin, who wrote out September-October feature on Parasite, and FC columnist and critic Michael Koresky."]

 Kunkle, Sheila. "Parasite and the Parallax of Social Relations Under Capitalism." Crisis Critique 7.2 (2020) ["This paper offers a psychoanalytic film analysis of director Bong Joon-ho’s 2019 film Parasite, which engages Slavoj Žižek’s concept of a “political parallax.” The analysis reveals how social (class) relations under Capitalism are anamorphically distorted and structured by way of an unsymbolizable gap. Ultimately, achieving a parallax view allows us to see that it’s not capitalism that breeds parasites; rather parasitism is already there, inherently built into capitalism in the form of an internal excess. Thus, capitalism itself becomes the parasitic system that perpetuates both the fantasy of freedom and the fetishization of class difference, which, paradoxically obfuscates class struggle itself."]

Lin, Ed. "This Side of Parasite: New Korean Cinema 1998–2009." The Current (November 2, 2020)

Liu, Rebecca. "A Hellish Commons: Bong Joon-Ho's Parasite." Another Gaze (February 13, 2020)

Park, Ed. "Memories of Murder: In the Killing Jar." Current (April 20, 2021)

Yoonsoo, Kristen. "The Parasite Eight-Minute Meal." Filmmaker (December 10, 2019)
















Monday, March 28, 2022

Okja (South Korea/USA: Bong Joon-Ho, 2017)





 Okja (South Korea/USA: Bong Joon-Ho, 2017: 120 mins)

Camia, Giovanni Marchini. "Okja is an Intelligent, Ambitious Blockbuster." The Film Stage (May 20, 2017)

Jones, Matthew. "The Case for Animal Rights: A Defense of Tom Regan." Philosophy in Film (October 24, 2020) [On Tom Regan's 1987 book The Case for Animal Rights and Bong Joon-Ho's 2017 film Okja.]

Taubin, Amy. "Free Range." Film Comment (July/August 2017) ["With Okja, Bong Joon Ho creates his most dramatically protean adventure yet—a work of interspecies friendship, galloping satire, and monstrous truths."]

Tsui, Curtis. "The Evolution of a 'Superpig': Designing Okja, from Start to Finish." The Current (July 14, 2022) ["A tale about a girl’s bond with her beloved “superpig”—an animal she must eventually rescue from the clutches of the evil corporation that genetically engineered her—Okja provided a new challenge: its shy titular creature needed to be a source of affection, not fear, inviting touching and cuddling while also maintaining a massive heft that would prove attractive to the greedy food industry. And because of the real-world setting of the film, which moves from the tranquility of the South Korean mountains to the commotion of New York City, Okja would need to seem plausibly realistic, yet also unlike anything existing in nature. The following images chart the evolution of the creature, as Bong and Jang tackled initial design concepts, incorporated feedback from collaborators, and continued to refine details until they arrived at the lovable superpig we see on-screen."]








Snowpiercer (South Korea/USA/France/Czech Republic: Bong Joon-Ho, 2013)

 



Snowpiercer (South Korea/USA/France/Czech Republic: Bong Joon-Ho, 2013: 126 mins)

Blunk, Marc Jason. "Derailing Snowpiercer: Descending Into the Boxcars of a Man-Made Hell (ENG 102)." Dialogic Cinephilia (March 1, 2017)

Carvajal, Nelson. "Bong Joon-Ho: Living Images, Moving Frames." Balder & Dash (July 1, 2014)

Cheney, Matthew. "Total Cinema: Snowpiercer." (Posted on Vimeo: 2014)

Hoberman, J. "Revolt on the Polar Express." New York Review of Books (July 1, 2014)

Kohn, Eric. "Is the 'Transformers' Audience Smart Enough for 'Snowpiercer'?" IndieWire (June 25, 2014)

Puschak, Evan "Snowpiercer: The Artist as Historian." (Posted on Youtube: August 4, 2014)

Sie, Trish and April Wolfe. "Snowpiercer." Switchblade Sisters #9 (January 4, 2018) ["April talks to Pitch Perfect 3 director Trish Sie about Bong Joon-ho's frozen feature, Snowpiercer. They discuss the amazing performance of Tilda Swinton as the authoritative Mason, the commanding directorial style of Bong Joon-ho, and the train car on the Snowpiercer they'd most like to spend time in. Trish also talks about getting her start directing the famous OK GO "treadmill video" for the song 'Here It Goes Again' and what it's like taking over an existing franchise with Pitch Perfect 3. She also shares some fascinating tidbits about the eating habits of polar bears."]







Friday, March 25, 2022

The Host (South Korea: Bong Joon-Ho, 2006)

 


The Host (South Korea: Bong Joon-Ho, 2006: 119 mins)

Carvajal, Nelson. "Bong Joon-Ho: Living Images, Moving Frames." Balder & Dash (July 1, 2014)

Chung, Hye Jean. "The Host and D-War: Complex Intersections of National Imaginings and Transnational Aspirations." Spectator 29.2 (Fall 2009): 48-56.

Hsu, Hsuan L. "The dangers of biosecurity: The Host and the geopolitics of outbreak." Jump Cut #51 (Spring 2009)

Koski, Genevieve, et al. Family Matters, Pt. 1 - The Host (2006)." The Next Picture Show #199 (November 5, 2019) ["Korean director Bong Joon-ho has a long-running interest in films about family, one that’s mirrored in two of his best-known films: His international breakout THE HOST and his new film PARASITE, both of which star Song Kang-ho as a father trying to keep things together on his kids’ behalf, and both of which are about the sense of duty among protagonists who have to improv their way through unexpected situations. In this half of our pairing, we revisit Bong’s monster movie THE HOST with a focus on its human cast and their family dynamic, and consider how the film’s political and emotional elements square with Bong’s insistence that there is “realism” at the heart of this movie about a rampaging fish-monster."]

---. "Family Matters, Pt. 2 - The Parasite (2019)." The Next Picture Show #200 (November 12, 2019) ["Bong Joon-ho’s new PARASITE feels weirdly similar to his 2006 film THE HOST, even though there’s no monster in sight — unless you count entitlement, inequality, and greed as monsters, which given how they shape PARASITE’s story, maybe you should. But it also features the return of Song Kang-ho as a father figure, albeit a more capable and traditional one, and a story shaped by Bong’s obsessions with family bonds and duty. In this half of our Bong pairing, we look at all the other things these two films share, from their thematic and visual fixation on high and low spaces, to how they utilize humor ranging from the slapstick to the ultra-dark. "]

Lin, Ed. "This Side of Parasite: New Korean Cinema 1998–2009." The Current (November 2, 2020)

Lukaslak, Beata. "The Host: The Monster Emerging From the Han." Senses of Cinema (September 2013)

Martin, Adrian. "The Host with the Most." The Monthly (March 2007)

Prewitt, Zach. "The Best Horror Cinema of the 21st Cinema." (Posted on Vimeo: October 2016)

Turner, James Lloyd. "Monstrous Dialogues: The Host and South Korean Inverted Exile." (A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts, Department of Humanities and Cultural Studies, College of Arts and Sciences, University of South Florida: March 5, 2012)

Weimer, Justin. "Essay on Bong Joon-ho’s “The Host” and the Monster Movie Genre." (Personal Website: August 20, 2012)

Wednesday, March 23, 2022

Memories of Murder (South Korea: Bong Joon-Ho, 2003)





 Memories of Murder (South Korea: Bong Joon-Ho, 2003: 132 mins)


"Bong Joon-Ho." The Director's Club (September 4, 2017)

Carvajal, Nelson. "Bong Joon-Ho: Living Images, Moving Frames." Balder & Dash (July 1, 2014)

Gunzburg, David. "Realistic, Like In a Movie: On Facts, Procedurals, and Memories of Murder." Photogenie (October 1, 2013)


López, Cristina Álvarez and Adrian Martin. "Imitation, Contamination, Dissolution: Bong Joon-Ho’s Memories of Murder." The Notebook (July 30, 2016)

Park, Ed. "The Bong Show: Bong Joon-Ho." Exile Cinema: Filmmakers at Work Beyond Hollywood ed. Michael Atkinson. Albany, NY: SUNY Press, 2008: 49-54. [Professor has copy]

---. "Memories of Murder: In the Killing Jar." Current (April 20, 2021)

Zhou, Tony. "Memories of Murder: Ensemble Staging." Every Frame a Painting (Posted on Vimeo: January 2016)





Sunday, March 20, 2022

Ava DuVernay (Ongoing Archive)







This Is the Life (2008)

I Will Follow (2010)

Middle of Nowhere (2012)

Selma (2014)

13th (2016)

A Wrinkle in Time (2018)

When They See Us (2019)

Colin in Black and White (2021)

Wednesday, March 16, 2022

13th (USA: Ava Duvernay, 2016)

13th (USA: Ava Duvernay, 2016: 100 mins)

Berger, Dan. "Mass Incarceration And Its Mystification: A Review Of The 13th." AAIHS (October 22, 2016)

Blackmon, Douglas A., et al. "Mass Incarceration." Throughline (August 15, 2019) ["The United States imprisons more people than any other country in the world, and a disproportionate number of those prisoners are Black. What are the origins of the U.S. criminal justice system and how did racism shape it? From the creation of the first penitentiaries in the 1800s, to the "tough-on-crime" prosecutors of the 1990s, how America created a culture of mass incarceration."]

Cyril, Malkia and Kevin Gannon. "Advocates: The U.S. Still Profits from Slavery Because the 13th Amendment Perpetuates Prison Labor." Democracy Now (October 3, 2016) ["As Ava DuVernay’s new documentary "13th" opens at the New York Film Festival, we speak to two people featured in the film: Malkia Cyril of the Center for Media Justice and Kevin Gannon of Grand View University."]

DuVernay, Ava. "From Slavery to Mass Incarceration, Ava DuVernay's Film 13th Examines Racist U.S. Justice System." Democracy Now (October 3, 2016) ["Ava DuVernay’s new documentary chronicles how our justice system has been driven by racism from the days of slavery to today’s era of mass incarceration. The film, "13th," is named for the constitutional amendment that abolished slavery with the exception of punishment for crime. The United States accounts for 5 percent of the world’s population, but 25 percent of its prisoners. In 2014, more than 2 million people were incarcerated in the United States—of those, 40 percent were African-American men. According to the Sentencing Project, African-American males born today have a one-in-three chance of going to prison in their lifetimes if incarceration trends continue. We speak to Ava DuVernay. Her previous work includes the hit 2014 film "Selma." With "Selma," DuVernay became the first African-American female director to have a film nominated for Best Picture at the Academy Awards."]

DuVernay, Ava, et al. "Ava DuVernay / Jamal Joseph." The Close-Up #93 (July 20, 2016)  ["The Opening Night selection will be the new film from SELMA director Ava DuVernay, THE 13TH, which explores the American prison industry and the horrors of mass criminalization. Eugene Hernandez caught up with DuVernay in Los Angeles over the weekend to discuss the project. In part two of this week's episode, we're sharing an inspirational panel from last month's Human Rights Watch Film Festival. Following a screening of CHAPTER & VERSE, a film about a reformed gang leader who struggles to re-enter society after eight years in prison, director Jamal Joseph joined lead actor Daniel Beatty and producers Cheryl Hill and Jonathan Singer to talk about racism, gang violence, gentrification, and what it means to forge your own destiny in an outwardly harsh society."]

Gino, Francesca. "You 2.0: Rebel with a Cause." Hidden Brain (August 9, 2019) ["This week, we'll follow Gino on her mission to understand the minds of successful rule breakers. What are their secrets? And how can we discover our own rebel talent? "I think we really need to shift our thinking," says Gino. "Rebels are people who break rules that should be broken. They break rules that hold them and others back, and their way of rule breaking is constructive rather than destructive. It creates positive change.""]

Kemaholo, Rachel. "A Justice System of Injustice: Causes of Wrongful Convictions in the United States." Dialogic Cinephilia (October 27, 2020)

Kleinhans, Chuck and Julia Lesage. "The Last Word - #BlackLivesMatter." Jump Cut #57 (Fall 2016)

Nord, Liz. "Ava DuVernay on 13th: How Netflix Jumpstarted the Timeliest Doc of the Year." No Film School (October 3, 2016)

Rose, Steve. "'We can't wait for Hollywood to change' - the directors reframing black history." The Guardian (April 1, 2017) ["From Raoul Peck’s I Am Not Your Negro to Ava DuVernay’s 13th, the factual film-makers tackling race in the era of Black Lives Matter."]

Wallis, Victor. "13th and the Culture of Surplus Punishment." Jump Cut #58 (Spring 2018)









Monday, March 7, 2022

David Fincher (Ongoing Archive)

Studiobinder. "Why is David Fincher a Genius? - Directing Styles Explained." (Posted on Youtube: July 8, 2019)



Alien³ (1992) [Keep in mind that this is the third film in a series, Ridley Scott's 1979 Alien and James Cameron's 1986 Aliens. It is not necessary to have watched both of those films, but there would be major plotholes in this film if you haven't.]

Se7en (1995)

The Game (1997)

Fight Club (1999)

Panic Room (2002)

Zodiac (2007)

The Curious Case of Benjamin Button (2008) 

The Social Network (2010)

The Girl with the Dragon Tattoo (2011)

Gone Girl (2014)

Mank (2020)

Thursday, March 3, 2022

Fight Club (USA: David Fincher, 1999)





“Our great war is a spiritual war; our great depression is our lives!”

Fight Club (USA: David Fincher, 1999: 139 mins)

Adkins, Ashleigh. "Fight Club: The Case of Psychological Misdirection and Bloodied Knuckles." Letterboxd (October 17, 2019)

Baker, Peter. "The Men Who Still Like Fight Club." The New Yorker (November 4, 2019)

Church, David. "“Propane is for pussies”: Bellflower’s bromance of retro technology and hip masculinity." Jump Cut #55 (Fall 2013)

---. "Remaining Men Together: Fight Club and the (Un)pleasures of Unreliable Narration." Offscreen 10.5 (Mat 2006)

Eig, Jonathan. "A beautiful mind(fuck): Hollywood structures of identity." Jump Cut #46 (2003)

“Entertainment Media Analysis Report: Fight Club.” ChildCare Action Project: Christian Analysis of American Culture (2000)

Erickson, Steve. "Fight Club." [Personal Website: 1999]

"Fight Club (1999)." Hammer & Camera (September 19, 2019)

Kuersten, Erich. "CinemArchetype #7: The Shadow." Acidemic (March 8, 2012)

Frazer, Bryant. "Fight Club." Deep Focus (October 1999)

Graeber, David. Debt: The First 5,000 Years. Brooklyn, NY: Melville House Publishing, 2011. [Was reading the 1st chapter of this book at the same time as I was preparing for the Fall 2012 Ethics/Film screening of Fight Club -- it changed the way I conceived of the meaning of the dramatic ending of the film: "By the same token, for the last five thousand years, with remarkable regularity, popular insurrections have begun the same way: with the ritual destruction of the debt records--tablets, papyri, ledgers, whatever form they might have taken in any particular time and place. (8)"]

---. "On the phenomenon of bullshit jobs." libcom (August 20, 2013) [In regards to Tyler Durden's complaint of these types of jobs]

Chow, Galvin P. "I Am Jack's Younger Self: The Secret Connections between "Fight Club" and "Calvin and Hobbes" REVEALED! Blogsizer (no date)

Koski, Genvieve, et al. "Man Up, Pt. 1 - Fight Club." The Next Picture Show #186 (July 31, 2019) ["We’re looking at two films featuring underground fight clubs, secret identities, and male protagonists trying to reclaim their self-worth through violence, beginning with David Fincher’s Fight Club, which traffics in many of the same themes as Riley Stearns’ new The Art of Self Defense, albeit with decidedly more stylistic flourish. In this half of our toxic masculinity double feature, we dig into what made Fight Club so divisive in 1999, and what makes it seem so prescient today."]

---. "Man Up, Pt. 2 - The Art of Self-Defense." The Next Picture Show #187 (August 6, 2019) ["Riley Stearns’ new dark comedy The Art of Self Defense centers on an underground scene of fighters who engage in their own version of the transgressive tactics Tyler Durden plays with in 1999’s Fight Club, but both films are ultimately about the catharsis of violence. After digging into how The Art of Self-Defense spins the “fight club” premise to its own ends, we pit these two films against each other to see which reigns supreme!…Or, to determine what each movie has to say about their shared interests in misogyny, toxic masculinity, and the dehumanization of life in corporate America."]

Like Stories of Old. "Fight Club - How (Not) to Become a Space Monkey." (Posted on Youtube: November 16, 2019) ["Video essay on Fight Club; examining how charismatic leaders like Tyler Durden turn men into Space Monkeys."]

---. "The Myth of Heroic Masculine Purpose." (Posted on Youtube: February 28, 2022) ["A critical analysis of the myth of heroic masculine purpose, and its effect on men’s perception of manhood, and on their connection to others and to the world."]

Lizardo, Omar. "Fight Club, or the Cultural Contradictions of Late Capitalism." Journal for Cultural Research 11.3 (July 2007)

Mann, Doug. "Hunting Elk in the Ruins: Chuck Palahniuk’s Fight Club as Neo-Situationist Satire of Consumer Capitalism." (ND: Posted on his academic page for Western University - Canada)

O'Connell, Max. "Men's Rights Activists, GamerGate, and Why Fight Club is Still Worth Debating 15 Years Later." IndieWire (October 15, 2014)

Palahniuk, Chuck (Interviewed by Joe Rogan). "Why Men Like Fight Club." Jer Films (Posted on Youtube: April 27, 2020)

Probst, Christopher. "Anarchy in the USA." American Cinematographer (November 1999)

Rothe-Kushel, Jethro. "Fight Club: A Ritual Cure For The Spiritual Ailment Of American Masculinity." The Film Journal #8 (2002) [The journal is offline, now hosted on a North Dakota State University page] 

Rushkoff, Douglas. "They Say." Coercion: Why We Listen to What 'They' Say'. (NY: Metropolitan Books, 1999: 1-26) [A question that is raised, for me, is why we so easily accept what "they say?" Here is media theorist Douglas Rushkoff's brilliant critical and self-reflective exploration of this question.]

Sevilla, Susanna. "Things Are Not What They Seem." (Posted on Vimeo: February 2015) ["A video essay on title sequences from Hitchcock and Fincher films. An exploration of motion graphic design from analog to digital."]

Szhou, Tony. "David Fincher - And the Other Way is Wrong." Every Frame a Painting (October 1, 2014)

Vacker, Barry. "Slugging Nothing: Fighting the Future in Fight Club." To the Best of Our Knowledge (November 10, 2013)

Zavodny, John. “I Am Jack’s Wasted Life: Fight Club and Personal Identity.” Movies and the Meaning of Life: Philosophers Take on Hollywood. eds. Kimberly A. Blessing and Paul J. Tudico. Chicago: Open Court, 2005: 47-60. [Professor has copy]

















The Directors Series- David Fincher [2.5] from Raccord on Vimeo.




"The most strongly enforced of all known taboos is the taboo against knowing who or what you really are behind the mask of your apparently separate, independent, and isolated egos." -- Alan WattsThe Book on the Taboo Against Knowing Who You Are (1966)

Wednesday, March 2, 2022

Se7en (USA: David Fincher, 1995)





 

Se7en (USA: David Fincher, 1995: 127 mins)


Adam, Braden. "Se7en - An Analysis of Generational Gaps." (April 27, 2007)

Aradillas, Aaron and Matt Zoller Seitz. "Grand Openings, Pt 2 Analyzing David Fincher's credit sequences: Se7en."  Moving Image Source (September 27, 2010)

Beyl, Cameron. "The Directors Series: David Fincher, Pts 1-5." (Posted on Film Stage: September 22, 2015)

David Fincher They Shoot Pictures Don't They (Archive)

Ebert, Roger. "Se7en."  Chicago Sun-Times (July 18, 2011)

Eig, Jonathan. "A beautiful mind(fuck): Hollywood structures of identity." Jump Cut #46 (2003)

Hodges, Brendan. "Se7en Movie Review and Analysis." The Metaplex (September 25, 2014)

Lindsay, Sean. "Great Directors: David Fincher." Senses of Cinema (July 2003)

LoBrutto, Vincent. "Defining Theme, Metaphor, and Character Through Color, Texture, and Environmental Design: Se7en." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 280-285. [BCTC Library: PN1994 L595 2005]

Murray, Terri. "Se7en." Philosophy Now #78 (2010)

Radatz, Ben. "Se7en (1995)." Art of the Title (July 10, 2012)

Sevilla, Susanna. "Things Are Not What They Seem." (Posted on Vimeo: February 2015) ["A video essay on title sequences from Hitchcock and Fincher films. An exploration of motion graphic design from analog to digital."]

Swinney, Jacob T. "David Fincher's Extreme Close Ups." (Posted on Vimeo: January 2016)


















"things are not what they seem," A Video Essay by Susana Aho from MGFX UConnDMD on Vimeo.




Alien 3 (USA: David Fincher, 1992)





Alien 3 (USA: David Fincher, 1992: 114 mins)


Beyl, Cameron. "The Directors Series: David Fincher, Pts 1-5." (Posted on Film Stage: September 22, 2015)

Cassidy, Brendan, et al. "AlienAliensAlien 3." InSession Film #221 (May 15, 2017)

Studiobinder. "Why is David Fincher a Genius? - Directing Styles Explained." (Posted on Youtube: July 8, 2019)

Subissati, Andrea and Alexandra West. "Alienation, Part 2: Alien 3 (1992) and Alien: Resurrection (1997)." Faculty of Horror (June 21, 2016)

Szhou, Tony. "David Fincher - And the Other Way is Wrong." Every Frame a Painting (October 1, 2014)

Tafoya, Scout. "The Post-Punk Cinema Manifesto: Side A." and "The Post-Punk Cinema Manifesto: Side B." Vimeo (2017)






The Unloved - Alien³ from Scout Tafoya on Vimeo.