What is it about?
Jean-Luc Godard says that every film is a looking back. However, after looking back, in Bong Joon Ho's Parasite, then something snaps in Ki-taek when he is in the refuge for flood victims. He sees the futility of carefully laid-out schemes and brushes aside the tradition from Proclus and Spinoza to Deleuze to Pasolini's Theorem. Then, a creaky-door swings to reveal the truth: that rational plans come up short in the face of real life, the face of natural disaster and in the face of Dong-ik's disgust at everything Ki-taek stands for and is.
Featured Image
Photo by Jonathan Ford on Unsplash
Why is it important?
It shows that Parasite stands in a strong tradition of philosophy and film theory, epitomised by Pasolini's Theorem and Deleuze's film theories, but the film eventually rejects all of these. This paper explains why?
Perspectives
From the start, I saw that Bong Joon Ho's Parasite and Pasolini's Theorem were covering the same ground, but from very different perspectives. I set out to compare Pasolini's theoretical perspective with Bong's film, especially in the light of Jean-Luc Godard's statement, "Without cinema, I wouldn't have known I have a history of my own." My own history is in the investigation of the philosophical background to Pasolini's and Deleuze's theories of film.
Dr Tony Partridge
Read the Original
This page is a summary of: Bong Joon Ho’s Parasite Viewed in the Context of Pasolini’s Theorem and Deleuze’s Filmic Theories, July 2022, De Gruyter,
DOI: 10.1163/9789004521513_010.
You can read the full text:
Contributors
The following have contributed to this page
