Self-sacrifice in Train to Busan (2016)

Q2 Arts and Humanities
New Cinemas Pub Date : 2020-03-01 DOI:10.1386/ncin_00005_1
Will McKeown
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Abstract

In order to recognize and calibrate the two parts to its structure, self-sacrifice in zombie cinema will be examined in terms of survival-based and emotion-based motivational frameworks. The interaction of these frameworks will be unpacked and their properties, differences and similarities will be appraised and questioned. Examinations of this kind require three different analytical methods that therefore determine the structure of this article. The first section will outline how the survival and emotional-based motivational frameworks exist within the same sequence in Train to Busan (2016). The implications of this will be addressed in relation to the organization of modern neo-liberalism and what Paul Verhaeghe coins the neoliberal meritocracy. The second section examines the temporal projections of the characters in the sequence (specifically how the sequence depicts a character’s understanding of the future and how their present situation fits into that). These projections are cross-referenced with the specific example of the neo-liberal South Korean economic climate to add credence to the proposition that the need (or fetishization) of survival is a neo-liberal symptom and a hangover from the pressures that are ceaselessly exerted to keep its hierarchies in place. The final section of this article examines abjection and identity in relation to the chosen sequence in Train to Busan. It explores the generation of identity in relation to self-sacrifice and concludes that self-sacrifice is a necessary enforcer of a specifically neo-liberal competition.
《釜山行》(2016)
为了识别和校准这两个部分的结构,僵尸电影中的自我牺牲将从基于生存和基于情感的动机框架来进行研究。这些框架的相互作用将被解开,它们的性质、差异和相似性将被评估和质疑。这类检查需要三种不同的分析方法,因此决定了本文的结构。第一节将在《开往釜山的列车》(2016)中概述生存和基于情感的动机框架是如何在同一序列中存在的。这一点的含义将与现代新自由主义的组织以及Paul Verhaeghe所创造的新自由主义精英政治有关。第二部分考察了序列中角色的时间投影(特别是序列如何描述角色对未来的理解,以及他们的现状如何与之相适应)。这些预测与新自由主义韩国经济气候的具体例子相互参照,以证明生存的需要(或恋物癖)是新自由主义的症状,是为保持其等级制度而不断施加的压力的后遗症。本文的最后一节探讨了《开往釜山的列车》中与所选序列相关的投射和身份。它探讨了与自我牺牲相关的身份生成,并得出结论,自我牺牲是特定新自由主义竞争的必要执行者。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
New Cinemas
New Cinemas Arts and Humanities-Visual Arts and Performing Arts
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