Bong Joon Ho : Dissident Cinema

Brilliantly illustrated and designed by the London-based film magazine __Little White Lies__,__ Bong Joon Ho: Dissident CinemaÂ__examines the career of the South Korean writer/director, who has been making critically acclaimed feature films for more than two decades. First breaking out into the international scene with festival-favorite__ Barking Dogs Never Bite__ (2000), Bong then set his sights on the story of a real-life serial killer in 2003âs __Memories of Murder__ and once again won strong international critical attention. But it was 2006âs __The Host__ that proved to be a huge breakout moment both for Bong and the Korean film industry. The monster movie, set in Seoul, premiered at Cannes and became an instant hitâSouth Koreaâs widest release ever, setting new box office records and selling remake rights in the US to Universal. Bongâs next feature, __Mother__ (2009) also premiered at Cannes, once again earning critical acclaim and appearing on many âbest-ofâ lists for 2009/2010. Bongâs first English-language film, __Snowpiercer__ (2013)âset on a postapocalyptic train where class divisions erupt into class warfareâfollowed on its heels, bringing his work outside of the South Korean and film festival markets and onto the stage of global commercial cinema. With 2017âs __OkjaÂ__, Bong became even more of an internationally known name, with the __New York Times__' A. O. Scott calling the film âa miracle of imagination and technique.â Bongâs next film, the 2019 black comedy/thriller __Parasite__, simultaneously scaled backâthe film is mostly set in just two locations, with two Korean families taking center stageâand took his career to new heights, winning the Palme dâOr with a unanimous vote, as well as history-making Academy Awards for Best Picture, Best Director, Best Original Screenplay, and Best International Feature Film.  __Parasite__âs jarring shifts in toneâencompassing darkness, drama, slapstick, and black humorâand its critiques of late capitalism and American imperialism are in conversation with Bongâs entire body of work, and this mid-career monograph will survey the entirety of that work, including his short films and music videos, to flesh out the stories behind the films with supporting analytical text and interviews with Bongâs key collaborators. The book also explores Bongâs rise in the cultural eye of the West, catching up readers with his career before his next masterpiece arrives. Brilliantly illustrated and designed by the London-based film magazine Little White Lies , Bong Joon-ho examines the career of the South Korean writer/director, who has been making critically acclaimed feature films for more than two decades. First breaking out into the international scene with festival-favorite Barking Dogs Never Bite (2000), Bong then set his sights on the story of a real-life serial killer in 2003s Memories of Murder and once again won strong international critical attention, taking home the prize for Best Director at the San Sebastian Film Festival. But it was 2006s The Host that proved to be a huge breakout moment both for Bong and the Korean film industry. The monster movie, set in Seoul, premiered at Cannes and became an instant hitSouth Koreas widest release ever, setting new box office records and selling remake rights in the US to Universal.Bongs next feature, Mother (2009) also premiered at Cannes, once again earning critical acclaim and appearing on many best-of lists for 2009/2010. Bongs first English-language film, Snowpiercer (2013)set on a postapocalyptic train where class divisions erupt into class warfarefollowed on its heels, bringing his work outside of the South Korean and film festival markets and onto the stage of global commercial cinema. With 2017s Okja (which became a center of controversy due to its being produced and released by Netflix), Bong became even more of an internationally known name, with the New York Times ' A. O. Scott callingthe film a miracle of imagination and technique.Bongs next film, the 2019 black comedy/thriller Parasite , simultaneously scaled backthe film is mostly set in just two locations, with two Korean families taking center stageandtook his career to new heights, winning the Palme dOr with a unanimous vote, as well as history-making Academy Awards for Best Picture, Best Director, Best Original Screenplay, and Best International Feature Film. Parasite s jarring shifts in toneencompassing darkness, drama, slapstick, and black humorand its unsubtle critiques of late capitalism and American imperialism are in conversation with Bongs entire body of work, and this mid-career monograph will survey the entirety of that work, including his short films, to flesh out the stories behind the films with supporting analytical text and interviews with Bongs key collaborators. The book also explores Bongs rise in the cultural eye of the West, catching up readers with his career before his next masterpiece arrives. Brilliantly illustrated and designed by the London-based film magazine Little White Lies ,  Bong Joon Ho: Dissident Cinema examines the career of the South Korean writer/director, who has been making critically acclaimed feature films for more than two decades. First breaking out into the international scene with festival-favorite  Barking Dogs Never Bite  (2000), Bong then set his sights on the story of a real-life serial killer in 2003’s Memories of Murder  and once again won strong international critical attention. But it was 2006’s The Host  that proved to be a huge breakout moment both for Bong and the Korean film industry. The monster movie, set in Seoul, premiered at Cannes and became an instant hit—South Korea’s widest release ever, setting new box office records and selling remake rights in the US to Universal.  Bong’s next feature, Mother  (2009) also premiered at Cannes, once again earning critical acclaim and appearing on many “best-of” lists for 2009/2010. Bong’s first English-language film, Snowpiercer  (2013)—set on a postapocalyptic train where class divisions erupt into class warfare—followed on its heels, bringing his work outside of the South Korean and film festival markets and onto the stage of global commercial cinema. With 2017’s Okja , Bong became even more of an internationally known name, with the New York Times ' A. O. Scott calling the film “a miracle of imagination and technique.” Bong’s next film, the 2019 black comedy/thriller Parasite , simultaneously scaled back—the film is mostly set in just two locations, with two Korean families taking center stage—and took his career to new heights, winning the Palme d’Or with a unanimous vote, as well as history-making Academy Awards for Best Picture, Best Director, Best Original Screenplay, and Best International Feature Film.  Parasite ’s jarring shifts in tone—encompassing darkness, drama, slapstick, and black humor—and its critiques of late capitalism and American imperialism are in conversation with Bong’s entire body of work, and this mid-career monograph will survey the entirety of that work, including his short films and music videos, to flesh out the stories behind the films with supporting analytical text and interviews with Bong’s key collaborators. The book also explores Bong’s rise in the cultural eye of the West, catching up readers with his career before his next masterpiece arrives. Brilliantly illustrated and designed by the London-based film magazine Little White Lies, Bong Joon Ho: Dissident Cinema examines the career of the South Korean writer/director, who has been making critically acclaimed feature films for more than two decades.First breaking out into the international scene with festival-favorite Barking Dogs Never Bite (2000), Bong then set his sights on the story of a real-life serial killer in 2003’s Memories of Murder and once again won strong international critical attention.But it was 2006’s The Host that proved to be a huge breakout moment, both for Bong and the Korean film industry. The monster movie, set in Seoul, premiered at Cannes and became an "instant hit", South Korea’s widest release ever, setting new box office records and selling remake rights in the US to Universal.Bong's next feature, Mother (2009) also premiered at Cannes, once again earning critical acclaim and appearing on many "best-of" lists for 2009/2010.Bong's first English-language film, Snowpiercer (2013) --set on a post-apocalyptic train where class divisions erupt into class warfare--, bringing his work outside the South Korean and film festival markets and onto the stage of global commercial cinema.With 2017's Okja (which became a center of controversy due to its being produced & released by Netflix), Bong became even more of an internationally known name, with the New York Times' A. O. Scott calling the film "a miracle of imagination and technique."Bong's next film, the 2019 black comedy/thriller Parasite, is mostly set in just two locations, with two Korean families taking center stage-- and took his career to new heights, winning the Palme d'Or with a unanimous vote, as well as history-making Academy Awards for Best Picture, Best Director, Best Original Screenplay, & Best International Feature Film. Parasite’s jarring shifts in tone encompass darkness, drama, slapstick, and black humor and a critique of late stage capitalism and consumerism.