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Bong Joon-Hos Gestaltande Av Klass

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Bong Joon-Hos Gestaltande Av Klass Magisteruppsats Bong Joon-hos gestaltande av klass En semiotisk klassanalys av Snowpiercer, Okja och Parasite Författare: Ludwig Mattsson Handledare: Elisabet Björklund Examinator: Mariah Larsson Termin: VT20 Ämne: Filmvetenskap Nivå: Avancerad Kurskod: 4FV01E Abstrakt Den här uppsatsen handlar om Bong Joon-hos gestaltande av klass. I analysen undersöker jag filmerna Snowpiercer (2013), Okja (2017) och Parasite (2019). Syftet med uppsatsen är att utifrån en semiotisk analys se hur Bong Joon-ho gestaltar klass i de tre olika berättelserna. Frågeställningarna utgår från filmernas tema och struktur, hur Bong Joon-ho gestaltar klass utifrån filmernas mise-en-scène och hur karaktärerna förhåller sig till filmernas miljöer. Slutresultatet visar utifrån den semiotiska analysen tillsammans med klassteori att klass är ett ständigt närvarande tema i filmerna. Gestaltandet görs med stilmässiga val som återkommer i Bong Joon-hos filmskapande, något som förenas med karaktärer som känns dynamiska och verkliga för berättelserna. Bong Joon-hos filmer propagerar inte för ett specifikt klassperspektiv. Istället ser vi olika typer av berättelser som skildrar alternativa sätt till att se på klass. I Snowpiercer framställs en dystopisk världsbild och slutet på klassamhället, i Okja återgår protagonisten till ett liv utanför samhället och Parasite gestaltar ett liv där karaktärerna är fast inom ett system. Nyckelord Film, Bong Joon-Ho, Parasite, Snowpiercer, Okja, Sydkorea, Klassanalys, Karl Marx, Max Weber, Pierre Bourdieu, Semiotik, Klass, Filmvetenskap. Tack Tack till min handledare Elisabet Björklund. Innehållsförteckning Inledning 1 Syfte och frågeställningar 2 Avgränsning 2 Tidigare forskning 3 Metod 5 Sydkoreansk film 6 Teoretiska perspektiv 10 Auteurteori 10 Klass 12 Semiotik 16 Analys 19 Snowpiercer 19 1.1.1 Bakgrund 19 1.1.2 Tema och struktur 19 1.1.3 Visuell gestaltning 21 1.1.4 Karaktärernas uttryck i förhållande till miljön 21 Okja 25 1.1.5 Bakgrund 25 1.1.6 Tema och struktur 26 1.1.7 Visuell gestaltning 27 1.1.8 Karaktärernas uttryck i förhållande till miljön 29 Parasite 32 1.1.9 Bakgrund 32 1.1.10 Tema och struktur 32 1.1.11 Visuell gestaltning 34 1.1.12 Karaktärernas uttryck i förhållande till miljön 36 Sammanfattning 39 Slutsats 43 Källförteckning 44 Inledning Den sydkoreanska manusförfattaren och regissören Bong Joon-ho är nu en av vår samtids mest omtalade filmskapare. De filmer han skapar varierar i genrer men en av många gemensamma nämnare är att protagonisterna befinner sig i de lägre delarna av en klasshierarki och är målmedvetna till att skapa en förändring i deras liv. Som term kan klass förklaras som ett sätt att kategorisera människor utifrån deras ekonomiska position i samhället, beroende på deras yrke, inkomstnivå, sociala plats och egendom. Ämnet är på det sättet ständigt aktuellt och globalt. Utöver det så är människor ofta, men inte alltid, medvetna om vilken samhällsklass de befinner sig inom. Det blir en del av personens identitet, på samma sätt som ras, kön, sexualitet och etnicitet kan vara det.1 I den här uppsatsen kommer jag att analysera de tre senaste filmerna Bong Joon-ho har skapat: Snowpiercer (2013), Okja (2017) och Parasite (2019). Valet av de tre filmerna grundar sig i att jag noterat att filmskaparen har allt mer fokuserat på att skildra klass i sina filmer. Det betyder att klass även är ämnet jag kommer analysera i filmerna. Detta görs utifrån en semiotisk analys för att undersöka hur regissören återvänder till klass som tema i olika utföranden och berättelser. 1 Harry Benshoff och Sean Griffin, America on Film: Representing Race, Class, Gender and Sexuality at the Movies, Malden: Wiley Blackwell 2009, s. 213. 1(50) Syfte och frågeställningar Syftet med uppsatsen är att undersöka hur filmskaparen Bong Joon-ho gestaltar klass i sitt filmskapande. På det sättet kan vi som åskådare få en större förståelse för hur klass kan gestaltas i modern sydkoreansk film, varför klass är ett återkommande tema för Bong Joon-ho och hur representationen går att koppla till det samhälle vi lever i idag. Frågeställningarna lyder: Hur gestaltar Bong Joon-ho klass? – Hur förhåller sig klass till filmernas tema och struktur? – Hur uttrycks klass genom filmernas mise-en-scène? – Hur framställs karaktärerna i förhållande till miljöerna? Uppsatsens relevans finns i att filmerna är stora i Sydkorea, men också globalt. Parasite vann guldpalmen i Cannes, men även fyra Oscarstatyetter, för bästa regi, bästa internationella film, bästa originalmanus och blev första filmen någonsin som inte varit engelskspråkig att vinna i kategorin bästa film. Det globala temat kan förhoppningsvis ge en tydligare bild kring gestaltning av klass men också ge en relevant blick på hur mycket familj, klass, arv och framtid spelar roll, om så bara i filmernas värld. Avgränsning Jag kommer använda mig av forskning om sydkoreansk film, klassteori och semiotik för att få större förståelse kring Bong Joon-hos skapande och den generation av framstående filmskapare som han är del av. Filmerna är från den sydkoreanska nya vågen och filmerna som används som primärkällor är regisserade av Bong Joon-ho. Totalt har Bong Joon-ho skrivit manus och 2(50) regisserat sju långfilmer, Barking Dogs Never Bite (2000), Memories of Murder (2003), The Host (2006), Mother (2009), Snowpiercer (2013), Okja (2017) och Parasite (2019). Litteraturen och forskningen består av intervjuer med regissören såväl fakta om det sydkoreanska filmlandskapets historia. I uppsatsen kommer jag använda mig av auteurteori för att skapa en förståelse kring Bong Joon-ho, då detta perspektiv kan framhäva hur filmskaparen utmärker sig och eventuellt skiljer sig från andra filmskapare. 2 Men uppsatsens fokus är på gestaltandet av klass utifrån en semiotisk analys. Mitt klassperspektiv i uppsatsen grundar sig i teorier från Karl Marx och Friedrich Engels, Max Weber och Pierre Bourdieu. Deras teorier kommer kontextualiseras med ett postmodernt förhållningssätt utifrån Ulrika Holgerssons perspektiv, då Holgerssons perspektiv är feministiskt och postmarxistiskt. Därtill kommer Harry Benshoff och Sean Griffins perspektiv på klass i förhållande till film göra det enklare att förstå hur klass gestaltas i film. Jonathan Bignells och Jostein Gripsruds semiotiska studier är väsentliga för den semiotiska analysen, så även Christian Metz som fördjupar sig i semiotiken med hjälp av termer som konnotation och denotation. Tidigare forskning Den tidigare forskningen som jag hittat om Bong Joon-ho har ofta varit i form av analyser i böcker om sydkoreansk film eller med fokus på hans tidigare filmer Barking Dogs never Bite, Memories of Murder och The Host.3 Forskning om Bong Joon-hos filmskapande handlar ofta om att han är en del av en större rörelse som påbörjades i slutet av 1900-talet.4 Den forskning 2 John Caughie, Theories of Authorship, New York och London: Routledge 1981, s. 11–13. 3 Jung Ji-youn, Korean film director series, Bong Joon-ho, Seoul: Seoul Selection 2008. 4 Editors of Britannica, “South Korea Cultural instituions”, 2020, https://www.britannica.com/place/South-Korea/Cultural-institutions, (2020-05-27). 3(50) som jag har hittat om Bong Joon-ho handlar ofta om specifika verk och hur de förhåller sig till globalisering eller klass till annan film. Ett exempel är Nikki J. Y. Lees “Localized Globalization and a Monster National: "The Host" and the South Korean Film Industry” (2011). Lee skriver om The Host och hur filmen är ett exempel på hur den sydkoreanska filmindustrin är både lokaliserad och global. Lee undersöker industriella praktiker bakom inhemska framgångar som Bong Joon-hos The Host och hur den sydkoreanska filmindustrins ideologiska inställning alltmer blir monopoliserad och globaliserad. Vilket har gjort att landets industri nu blivit till en internationell producent och distributör, men som porträtterar sig själv som en nationalistisk filmindustri trots att den når en global publik.5 Joshua Schulze skriver i ”The Sacred Engine and the Rice Paddy: Globalization, Genre, and Local Space in the Films of Bong Joon-ho” (2019) om Memories of murder, The Host, Snowpiercer och hur filmerna behandlar komplexa förhållanden mellan Sydkorea och USA.6 Ju Young Jin skriver i sin artikel ”Making the Global Visible: Charting the Uneven Development of Global Monsters in Bong Joon-Ho’s Okja and Nacho Vigalondo’s Colossal” (2019) om Okja som jämförs med Nacho Vigalondos Colossal (2017) och hur filmerna kopplas till kalla kriget och global kapitalism, där båda filmerna utmanar bilden av monster genom att förena dem med en ung kvinna som protagonist, men i en miljö som är på global nivå. 7 5 Nikki J. Y. Lee, ”Localized Globalization and a Monster National: "The Host" and the South Korean Film Industry”, i Cinema Journal, Volym, 50, Nummer 3, 2011, s. 45–61. https://www-jstor-org.proxy.lnu.se/stable/41240713, (2020-08-19). 6 Joshua Schulze, ”The Sacred Engine and the Rice Paddy: Globalization, Genre, and Local Space in the Films of Bong Joon-ho”, i Journal of Popular Film and Television, Volym 47, Utgåva 1, 2019, s. 21–29. https://www.tandfonline.com/doi/full/10.1080/01956051.2019.1563449, (2020-08-19). 7Ju Young Jin, "Making the Global Visible: Charting the Uneven Development of Global Monsters in Bong Joon- Ho’s Okja and Nacho Vigalondo’s Colossal", I Comparative Literature and Culture, volym 21, utgåva 7, artikel 5, 2019, s. 1-10. https://doi.org/10.7771/1481-4374.3659, (2020-08-19). 4(50) Lisa Wangsell Orander undersöker hur klass och genus skildras i svenska filmer från 1920-talet i ”Den moderna kvinnan. En studie av klass och genus i Drottningen av Pellagonen och En piga bland pigor” (2011). Wangsell Orander fokuserar på hur klassamhället framställs i filmerna, hur den moderna kvinnan skildras och om klass och genus påverkat kanoniseringen av filmerna och utgår från klassbegrepp både från Marx och Weber. Klassbegreppen från de båda teoretikerna är något som även jag kommer använda mig av.8 Det refererade materialet av tidigare forskning ger en överblick på tidigare forskning kring sydkoreansk film, klass och Bong Joon- ho och hur den här uppsatsen har ett nytt perspektiv.
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