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Horror to the ExtremeChanging Boundaries in Asian Cinema$
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Jinhee Choi and Mitsuyo Wada-Marciano

Print publication date: 2009

Print ISBN-13: 9789622099722

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622099722.001.0001

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“Tell the Kitchen That There's Too Much Buchu in the Dumpling”:

“Tell the Kitchen That There's Too Much Buchu in the Dumpling”:

Reading Park Chan-wook's “Unknowable” Oldboy

Chapter:
(p.179) 10 “Tell the Kitchen That There's Too Much Buchu in the Dumpling”:
Source:
Horror to the Extreme
Author(s):

Kyung Hyun Kim

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789622099722.003.0010

This chapter examines Park Chan Wook's “vengeance trilogy”: Sympathy for Mr. Vengeance (Boksuneun naui geot, 2002), Oldboy (2003), and Sympathy for Lady Vengeance (Chinjeolhan geumjassi, 2005). It analyzes a number of elements that characterize the main trope of Park's films including the trope of captivity, mystification of spatial markers, separation of planes of representation and signification, and the camera's “flat” wide-angle shot. It also evaluates whether or not the post-politics or anti-history of Park Chan-wook can yield a political reading when placed in a Korean historical context.

Keywords:   Park Chan Wook, Sympathy for Mr. Vengeance, Oldboy, Sympathy for Lady Vengeance, post-politics

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