奉俊昊三部电影中底层人物定位的转变

Agnes Rosalina Pinem
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摘要

奉俊昊是韩国电影导演,他最近执导的三部电影是《雪国列车》、《Okja》和《寄生兽》。这些电影的主题相同,都是资本主义制度下的社会阶层不平等。研究人员运用诺曼-费尔克拉夫(Norman Fairclough)的批判性话语分析,找出了三部电影中的下层阶级代表,然后运用米歇尔-福柯(Michel Foucault)的主体地位理论,找出了奉俊昊三部电影中下层阶级主体地位的变化。研究结果表明,三部电影中的下层社会主体定位发生了四次转变。在这些影片中,资本家被描绘成胜利的一方,但奉俊昊对下层阶级与上层阶级之间关系的定位却有所不同。在这些影片中,奉俊昊传达了他对资本主义制度对社会影响的思考和担忧。通过最后一部影片《寄生虫》,奉俊昊想表明,下层阶级和上层阶级都可能成为资本主义制度的受害者。这三部影片表明,资本主义制度无可替代,最终人们只能相互尊重。
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Pergeseran Pemosisian Subjek Kelas Bawah dalam Tiga Film Bong Joon-Ho
Bong Joon-ho is a South Korean film director and the last three film he directed were Snowpiercer, Okja and Parasite. Those films had the same theme which is social class inequality in the capitalist system. Researcher used Norman Fairclough's critical discourse analysis to find out the representation of the lower class in the three films and then used Michel Foucault's subject position theory to find the shifting position of lower- class subjects in three Bong Joon-Ho films. The result, this study found out that there were 4 shifts in the positioning of lower class subjects represented in those three films. In these films, capitalists are portrayed as the winning party but the way Bong Joon-ho positions the relationship between the lower class and the upper class was different. In these films, Bong Joon-ho conveys his thoughts and concern about the impact of the capitalist system to the society. Through his last film Parasite, Bong Joon-ho wanted to show that both the lower class and the upper class could become a victim in the capitalist system. These three films show that there is no alternative to the capitalist system and that in the end people just have to respect each another.
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