FIRE City: Paju and Burning
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Both set in the South Korean city of Paju, Park Chan-ok’s Paju (P’aju, 2009) and Lee Chang-dong’s Burning (Pŏning, 2018) document the troubles of late developmentalism as the frustrated emotional development of young people who come to realize that they are part of a growing surplus population that no longer have a place in the economic world they inhabit. This article suggests that a crucial backdrop for the fires within each film’s diegesis is another kind of fire, namely the FIRE economy. This is the acronym for a groups of capital accumulation strategies that prioritize Finance, Insurance, and Real Estate, all of which are business sectors that have typically emerged in the wake of manufacturing decline, providing opportunities for capitalists facing declining industrial revenue as part of what David Harvey has termed a capital switching strategy. Although the pun in the acronym does not of course work in Hangul, the industries became particularly prominent in South Korea after the IMF Crisis as part of broader wave of financialization. In both films, the determining power of this socio- economic backdrop is displaced within a melodramatic frame that prioritizes emotional over economic attachments, but nevertheless abides in material traces.
Abstract
Both set in the South Korean city of Paju, Park Chan-ok’s Paju (P’aju, 2009) and Lee Chang-dong’s Burning (Pŏning, 2018) document the troubles of late developmentalism as the frustrated emotional development of young people who come to realize that they are part of a growing surplus population that no longer have a place in the economic world they inhabit. This article suggests that a crucial backdrop for the fires within each film’s diegesis is another kind of fire, namely the FIRE economy. This is the acronym for a groups of capital accumulation strategies that prioritize Finance, Insurance, and Real Estate, all of which are business sectors that have typically emerged in the wake of manufacturing decline, providing opportunities for capitalists facing declining industrial revenue as part of what David Harvey has termed a capital switching strategy. Although the pun in the acronym does not of course work in Hangul, the industries became particularly prominent in South Korea after the IMF Crisis as part of broader wave of financialization. In both films, the determining power of this socio- economic backdrop is displaced within a melodramatic frame that prioritizes emotional over economic attachments, but nevertheless abides in material traces.
참고문헌 (22)
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