The Dark Side of the Jazz Age in Lee Chang-dong’s Burning
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This article contends that Burning is full of allusions reminiscent of the American 1920s and 1930s—the Jazz Age—traversing William Faulkner’s short story, F. Scott Fitzgerald’s The Great Gatsby, the Flapper and pantomime that smacks of Charlie Chaplin’s silent films popular during this era. In the film, the prominent trio—Jong-su, Ben, and Hae-mi—are youths living in the two divided Koreas, a different place and time from the American Jazz Age. Director Lee transposes the dark side of the American Jazz Age into Korea where neoliberalism is confronted yet still rampant in order to critique this phenomenon of the widening gap between disparate Korean social classes. Jong-su has his fictional double backlash against Ben in the final scene. This can be read as Director Lee’s reaffirmation that, in neoliberal Korea, likes of Jong-su or Gatsby are neither helpless nor gullible to bear the brutality of Tom-like figures such as Ben. I imagine that, unlike Ben, who lightly dismisses morality and social norms, Jong-su, the youth who writes, would fall into deep sadness and remorse if he acts in a way that his novel’s protagonist does towards Ben.
Abstract
This article contends that Burning is full of allusions reminiscent of the American 1920s and 1930s—the Jazz Age—traversing William Faulkner’s short story, F. Scott Fitzgerald’s The Great Gatsby, the Flapper and pantomime that smacks of Charlie Chaplin’s silent films popular during this era. In the film, the prominent trio—Jong-su, Ben, and Hae-mi—are youths living in the two divided Koreas, a different place and time from the American Jazz Age. Director Lee transposes the dark side of the American Jazz Age into Korea where neoliberalism is confronted yet still rampant in order to critique this phenomenon of the widening gap between disparate Korean social classes. Jong-su has his fictional double backlash against Ben in the final scene. This can be read as Director Lee’s reaffirmation that, in neoliberal Korea, likes of Jong-su or Gatsby are neither helpless nor gullible to bear the brutality of Tom-like figures such as Ben. I imagine that, unlike Ben, who lightly dismisses morality and social norms, Jong-su, the youth who writes, would fall into deep sadness and remorse if he acts in a way that his novel’s protagonist does towards Ben.
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