Decolonial tricks and false disruptors: The anamorphic image of colonial desire in The Handmaiden
The 2013 film Snowpiercer by Korean director Bong Joon-ho is based on the interweaving of the three volumes of the comic strip Le Transperceneige by Rochette, Lob, and Legrand (1983-2000). The result is a compressed series of events surrounding a revolutionary movement that starts with the “tailies”...
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| 主要な著者: | , |
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| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
2025
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| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | The 2013 film Snowpiercer by Korean director Bong Joon-ho is based on the interweaving of the three volumes of the comic strip Le Transperceneige by Rochette, Lob, and Legrand (1983-2000). The result is a compressed series of events surrounding a revolutionary movement that starts with the “tailies” in the “deprived” carriages at the back and works its way up to the rich carriages at the front, and ends with the mysterious Wilford, the great commander and designer of the train. While the comics are imbued with the pessimistic political and philosophical reflections of the post-1968 period in France, from which emerges a global view of the postmodern world, the film takes up the story of a postmodernity that has its roots outside the West, in Korea first of all, but also in all the non-Western and postcolonial countries. It is through the stumbling blocks between the comics and the film that we can distinguish two postmodernities that sometimes overlap and sometimes diverge. The postmodernity of the film regenerates a mystical shamano-taoistic imaginary and retro-futuristic sociopolitical conceptions rooted in traditions, while at the same time critiquing and transcending the existential, disillusioned, fragmented, self-critical, survivalist postmodernity of the comics. |
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